In the Manifest Obscura series, iconic landscapes of the American West are complicated and obfuscated by combining the tradition of large-format analog photography with microbial processes. Made using a simple pinhole camera, the soft, dreamlike images immediately frustrate our desire to consume and fetishize a sublime “Nature” — detail emerges only when microorganisms exert their own image of the world in place of ours. Control is ceded to chance as agency shifts to non-human interlocutors collected from each landscape. Lifeforms and image, locked in material embrace, both cultivate and destroy the other.
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