A difficult relationship of the automobile to the land [and to its particular history of representation as 'landscape'] is intimated in the series of photographic prints Autoscapes. This is achieved through a disruption of 'image-space' or Bildraum.
Viewed in the gallery at 60 x 42 inches [152.5 x 101.5 cm] picturesque landscape qualities feigned by the Autoscapes eventually disappear when upon closer inspection vestiges of a former use begin to flatten the studio-constructed perspectives of these landscape photographs.
Shot obliquely on a copy-stand from just a few square centimetres of background imagery in a magazine car advertisement, these apparently 'documentary' or 'evidential' photographic prints are stripped of their original colour and sepia-toned to mimic the very different photographic genre of nostalgic landscape.
The Autoscapes display half-tone printing screen dots that appear only partially in each
autoscape's intentionally limited range of sharpness. Aside from that small area
of incongruity, the rest of the image appears to conform to the conventional
'truth' of photographic depth-of-field.
[This effect cannot be reproduced at low resolution on the web.]
approaching Ur from the south east
two days, lost in the region of Borobudur
heaving going, the terrain surrounding Mesa Verde