As a viewer’s eyes approach an image’s edge, the frame or cropping becomes visible, revealing the image’s true subjective and authoritative nature. In terms of architectural photography, the frame establishes the context within which the architecture exists and determines the degree of fragmentation within the reading of a place. For example, a place might appear even more fragmented and decontextualized if less is shown.

Given that this mode of interaction is limited to the two-dimensional surface of the image, it offers a changed understanding of architecture. As Walter Benjamin explained, “Everyone will have noticed how much easier it is to get hold of a painting, more particularly a sculpture, and especially architecture, in a photograph than in reality.  

Therefore, considering the possibility that the experience of architecture may now be inseparably linked to its imagery, it becomes evident that a critical photographic framing of our surroundings and its architecture is vital. Though one is aware that photography cannot replace the aura of the original, one acknowledges that it might show something that does the space justice and can unveil it.

This room lives essentially as two photo series, one where the interior of a room is pieced together through the individual fragments of two existing spaces. Areas of spatial and constructed oddities were photographed to transport the viewer out of the existing room, perhaps deceiving a knowing viewer, or for a new viewer, instilling truth. The simultaneity of the images within images can both reaffirm or disrupt your trust.

The other series are interior and exterior images in simultaneity with what they are relating to, playing with scale, orientation and positioning of the viewer or camera.