Planes of Existence (PoE)
I’ve been drawn to cloud formations since I was a kid, so photographing the sky had always come naturally. I did it casually—at outdoor events, in my backyard, even from the car. Eventually I began printing these skyscapes in different sizes and arranging them into simple still-life compositions. That process brought an unexpected amount of joy and became the starting point for the work.
I later introduced a mirror and a glass table, using reflection as a way to multiply space and see what the images might do when allowed to repeat themselves. The reflections began to suggest depth without requiring construction—just angle and light.
I had different variations of the studio set up for a month (July 2025) as I battled unwanted reflections and glare. For the final shoot, a skyscape was printed double-sided on cardstock and positioned on the glass so that, at roughly a 45° angle, multiple mirrored versions of the sky appeared naturally within the frame. Alongside it, I had a photograph of a triumph tulip with a cup-shaped bloom—elegant, rose-like, but without drama. I printed the image at 8×10, cut it out, and began placing it among the skyscapes to see how it might hold its own within that open space.
The setup was intentionally simple: white sheets, softbox, flashlight, a full-length mirror, and a rectangular glass table. Most of the discovery came from small adjustments—slight shifts in angle, light, and placement—watching how the planes began to interact on their own.
I was interested in the fusion of surreal and abstract—where recognizable forms could be reimagined into illogical or dreamlike arrangements. Combining skyscapes with still-life elements allowed me to explore memory, subconscious association, and emotional resonance through layering and reflection. Over time, my focus narrowed. I’m no longer working with skyscapes, instead concentrating on gesture alone—forms silhouetted against solid color fields, where posture and presence can speak without atmosphere.