EYEBEADS BY WORDS HELD FAST matches and mismatches digital images into associative pairings that intimate a subliminal syntax. It uses images in a manner that is often irreverent towards photographic conventions that make us select pictures for their isolated qualities and display separate images as autonomous works. Here the impact of a diptych comes from a resonance and subliminal connection between pictures. Just like our words and notions, EYEBEADS’ images play with esthetic expectations. Pictures, good and bad, lyrical and jarring, intimate and generic, sweet and vulgar, dramatic and plain, are merely syntactic units in the optical yarn. At its most successful it is a photographer’s nightmare. EYEBEADS proposes another kind of pictorial taxonomy and its own pictographic order.
The images bound in their pairings are intimations of sparks along synaptic pathways. Some are purely formal, while others are ripe with external connotations. All register patterns permeating both natural and man-made worlds. Some of the corresponding structures are biological, and some technological, industrial or domestic, societal and erotic, all manifesting analogically in seemingly disparate realms. These primordial imprints find their parallel patterns while exposing their provenance. EYEBEADS captures and threads these transient manifestations, revealing their correlations and their sources within fundamental and pervasive tropes. As the associations arise, language silently binds the visual particles.
EYEBEADS maps a singular visual syntax, a chain of juxtapositions cast to trigger vestigial associations. It is a dance of isomorphic patterns. A poem with words unspoken.