We live in a time in which fact and fiction shift easier than ever before, when photographs are distributed and consumed almost as quickly as they can be produced. The drastic shifts in scale at which we receive these images, from photos scrolled through on the phone, to vinyl prints on the billboards we speed past, further contribute to leveling even the most phenomenal moments depicted into a banal periphery. In the replacement culture of Los Angles, the subtle tells that help to distinguish reality have lost their value, making the decoding of images simultaneously easier and harder for the collective consciousness.
I have become increasingly aware of my role in the perpetuation of images through my commercial practice, and my impact on the world that receives them. For me, photography must look at, and criticize itself and the impact that it has had on our collective psyche. My project It’s Almost Not Worth Talking About questions the validity of making images in a place like Los Angeles. In it, I attempt to decode my role in the apparatus that has made me, through images captured as I move through the city. By operating in the spaces in-between, I hope to help break the spell that I have helped to construct. If Flusser is right, and imagination has turned into hallucination, then it is my job as a photographer to restructure reality in order to see the ‘Global Scenario’ by using those hallucinations to see the world anew again.