Unposed photographs taken at different times and in different places are joined along a narrow seam. Lines, surfaces, colours and spatial structures continue across the divide; perception constructs a shared reality.
I sometimes photograph spaces before I know why they hold my attention or how I will use them in my work.
At the Alhambra, it was the exterior:
stone, light, history, layers—and the formal interplay of positive and negative planes, along with the angles between their boundaries created by perspective.
At the Bundeskunsthalle, it was the interior:
surface, edge, white space, controlled architecture—and the formal tension between curve and straight line.
Only later did I discover how beautifully the two images respond to one another.
Old and new.
Outside and inside.
Historic site and museum space.
…
The montage does not create a real space,
but a geometric assertion.
The break remains.
The form at the transition makes it plausible.