Traveling through a remote stretch of west Texas on a state highway, I came upon one of the most stark juxtapositions of new and old I'd ever come across. With a sea of windmills in the background, a single dilapidated farmhouse persevered roadside with the last remnants of its wooden structure defying the elements' desire to take them down. I shined two single spotlights on the structure to help illuminate the building and placed the red chair in the doorway as a witness to its existence - one it might not have the next time I pass through.
Concursus is a limited edition photograph and part of a series called the Red Chair Project – something I’ve been working on for a while and been thinking about for even longer – how to create a deeper connection between a photograph and the viewer. The most difficult things to convey in a photograph are almost always scale and intimacy. Scale is difficult because a two-dimensional representation of a three-dimensional world can fall short in portraying the scale of the scene and more importantly, how big the scene is in relation to a human being. Intimacy is especially difficult with landscapes because while the scene may be beautiful, there’s often nothing in the photograph that the viewer can connect with. Using a simple object, a chair – something we all use – I’m attempting to create that depth of connection that may otherwise not be there.
That’s the concept behind the Red Chair Project – childhood memory reintroduced to my life as an adult and now an integral part of my photography. The backstory on the chair is a personal one. It’s a chair that was in my room as a young boy and only came back into my possession a few years ago. Instantly, the thought of incorporating it into my photography became something I began to think about. My hope is that something we all use – a simple chair – will give that extra layer of connection to this series of photographs.