Rebecca Kerlin

For the Constructions series, I capture hundreds of digital images during bounded walking traversals of hours' duration. After many weeks, when I am no longer able to recall site specifics, I use the images and oil paint to represent my residual impressions.

The genesis of the series was this:
- a digital camera, my first
- a trip to London, also my first
- days of dérive around the city, camera ready. Almost as soon as I stepped away from my hotel, I determined the documented-glance technique of this series.

The single snapsnot can either serve or influence memory. The efflorescent set overruns. Likewise, the tuned aesthetics of the default light, display and ink defaults found throughout the consumer technology market.

In Constructions, oil paint synthesizes slightly disjoint, repetitive and often lens-artifacted photographs, completing and reifying the scene according to the instructions of the photographic boundary.

One further axis: the oil paint, an archaic medium, meets the photographic edge and yields chemical interaction over time.