Today we are located in an age where, without moving a centimetre we have travelled further than any generation in history. Each successive development in communication technology comes with a successive leap in the number of ideas and images with which it requires us to cope. This, as Douglas Rushkoff suggests in his article 'Children of the Remote Control', exposes the current generation to a "degree of change experienced by the past three generations", paralleling, "that of a species in mutation."
This change, he highlights, is a result of the disruption in our linear reasoning, and our ability to draw conclusions from information presented to us. This continuity is broken through the ability to "surf" through image inputs, "welcome to the age of discontinuity." This is the age in which I find my practice placed, and thus placed, it becomes a basis for evolving my practice.
To illustrate, my photography, my practice looks at these doors, it delves into folds that open and close like pages in a book, like images flicking on and off a screen. My knowledge of photography has evolved like a collection of tributaries flowing to an ever increasing body of water, (knowledge). The dam fills with the multitude of inputs that my life encounters, the relationships and their affects. The image I attach opens floodgates in my work. The image combines a set of relationships that has opened a Pandora's box of multiplicitous relationships.
Until the image is recognised as language, and albeit, a new language, or, at the time we grasp that in the image there are so many keys. It is then, that we will feel free to relate to the image. Yet until this language is established I can only pass the key that was given to me.
Douglas Rushkoff, 'Children of the Remote Control', Syte, The Weekend Australian, 19-20 April, 1997.