Introduction
We turn meticulously crafted prints into ‘photographic material’ by way of an office document shredder. We then rework the vertical and horizontal strips by hand. Our process entwines the labor of two makers, reinforcing the collaborative relationship and confounding traditional notions of authorship.
In Either, Or, alternating strands of the two portraits makes two new pictures that appear the copy of the other but are, in fact, each unique. The diptych structure moves the viewer’s eye from one image to the other; even as this image is ‘both, and’ we tend to see ‘either, or’. The identity information of the two faces is curiously aligned and also distinct, creating a hybrid androgynous subject that meets the viewer’s gaze. Long view combines images of both makers’ irises into a single stretched perspective. Scrambled text works reconfigure celebrations of the ego and of the body into abstract new languages.
