Mould explores the intertwining relationship of the natural and built environment which has developed into the present day tourist town of Playa del Carmen, Mexico.
The ever growing built environment is defined by two types of Molds (or Moulds) that construct both the grandeur and the deterioration of human’s desire to populate the natural environment for touristic pleasure.
The film aims to stimulate introspective questions related to the environmental consciousness all humans should have for any place that they live in. Some of those questions include: What are the materials that make up our everyday environment? How can the built-environment, have a positive socioeconomic result as well as a minimal negative impact on the natural-environment? Should visitors to a place be required to meditate on what makes it possible to take refuge in a resort-based model of vacationing? Does the short term gain of economic prosperity justify mass land development at the expense of the natural environment? Or, will mother nature’s fortitude heal itself through the passage of time?
The film encourages audiences to mould their own meaning of the contradicting issues that are being presented.
Tags: Architecture, Landscape, Social
Location: Playa del Carmen, Mexico
Tags: Rocky Landscape, Landscape Photography, Atlantic Coast, Place, Island living
Location: Horseshoe Bay, Bermuda
Tags: Landscape Photography, Atlantic Coast, Place, Island living
Location: Ilha Grande, Brazil
Tags: Niteroi, Architecture, Social
Location: Niteroi, Brazil
Tags: Reflections, Lakes, Landscape Photography
Location: Kilarney Provincial Park, Ontario, Canada
The slow deconstruction of Regent Park provided time to reflect upon the physical components that constitute home and community. As these buildings are demolished, the new community in Regent Park prepares to define a revitalized version of itself. Time will only tell if the new components can work together to create a new sense of place or whether they will end up as the previous version did - torn apart and disposed.
Tags: Deconstructing Place, Demolition & Architecture, Revitalization, Refining Place and Community
Location: Toronto, Canada
Year: 2014 - Present
The uncovering of places inaccessible by foot, the viewer engages with views of impossible paths. Frozen Escapes leads one through.
Tags: Landscape Photography, Mountains, Snowboarding Glades
Location: Big White, British Columbia, Canada
Icebergs viewed as individual objects have a sculptural visual capacity. Light, along with the weight of the foreground and background, highlight the various qualities of their mass and form.
As their siting within an environment changes, their scale is engaged. Within the context of the mainland Antarctic continent, their grandeur is reduced to a mere spec within a larger system of floating ice objects.
This collection intends to stimulate introspective thoughts about one's experience with something that is seemingly monumental versus understanding that same object within its own context.
Tags: Landscape Photography, Introspection, Icebergs, Scale, Context
Location: Pleneau Bay, Antarctica
Between the solidity of the frozen lake and the evanescent motion of the sky above, a middle space is created. This space is full of tension and release as the icecape and clouds engage. When one dominates over the other, the atmosphere of the in between space is formulated. Sometimes heavy and sometimes light, but always generating a sense of one's scale within.
Tags: Landscape Photography, Visceral Emotion, Atmosphere Mutation, Icescapes, Georgian Bay
Location: Collingwood, Ontario, Canada
The horizon as subject is balanced between foreground and background of the earth and the sky. Juxtaposing the minimalist sky gradients with the solid form of the ground below, an infinite space is perceived on a two-dimensional plane.
Tags: Aerial Photography, Visceral, Earth, Sky
Scenes of movement through the village of Vau i Dejës in a landscape that has been modified by the construction of a dam.
Tags: Village Life
Location: Vau Dejes, Albania
There was a photography exhibit called Galerija 11/07/95 that was happening in the basement of a building in the center of Sarajevo. It was there that I received an intense history lesson of the horrors that occurred in Bosnia during the 1990′s war.
The exhibition wasn’t presented or designed like a typical gallery showroom. You had to walk through a narrow passageway to an elevator. The elevator was in a niche where on the left side, there was a wall finish that resembled a door, giving the impression that you had to open it to walk to the exhibit. But, there was a twist. There was a button on the door and no handle. I pressed the button and suddenly the wall in front of me opened to expose the elevator. Inside, there was a mirror with the words “You are my witness” written on it in three different languages. I felt a chill.
When I arrived downstairs, I saw a hallway to my left, where people with headphones on were sitting on the ground and watching screens. To my right, was the reception desk that doubled as the gift store. It looked like there was a small exhibit with large photographs in a room next to the reception desk. I could see everything without entering and paying for it, I thought. But I knew there was more to it than a room full of pictures. I started looking down at the postcards on the reception desk and one of them was a picture of the words “I am your best friend – I kill you for nothing – Bosnie 94″ scrawled on a wall. I felt another chill, similar to the one I had felt earlier in the elevator. The entrance procession of the exhibit was having an effect on me. I had to go in.
I was instructed to go to the other end of the gallery first, to watch a documentary made by the BBC about the Srebrenica massacre. I watched the documentary and then viewed the gallery images which were about the process of exhuming the bodies of the men and boys that had been killed and buried in the mass graves. They were mass graves that, to this day, continue to be uncovered and are found to be bigger and bigger with each passing year. The process of finding remnants of the victims, matching their DNA and sharing the discoveries with the loved ones, and finally giving them a proper burial, was all communicated through large, intense photographs in a dim finished, gently lit, gallery.
Finally, there was the hallway where I had seen people sitting and viewing screens. They screened interviews of male survivors who had fled Srebrenica for Tuzla. I watched one of them tell his tale, his fortunate fate or his gift-of-will to walk through dark, damp forests, with his maddening uncle on his back and an injured foot. Without sleep or food, with the Serbs amusingly killing off people he knew at the back of the pack, he walked for six days until he reached Tuzla where he was reunited with his wife. Listening to his words and the way he expressed every moment of his tale left a scarring impression on me. To be there, in the city and country that had suffered so horrifically under 20 years ago, and to see how they had picked up the pieces since then, led me to understand the definition of resiliency.
This photography story is about the physical damage that the buildings themselves had suffered during the war in the 90's. Many of the buildings in the suburbs were still damaged or in the process of repair. These were mainly residential buildings that weren't damaged enough to be torn down, but enough to still hold the scars of an event that happened over 10 years ago.
Tags: Architecture & War, Healing Place
Location: Sarajevo, Bosnia & Herzegovina