Inversion explores the differences between various states of the photographic image and contrasts these in a way over which the viewer has little control, save for ignoring the image altogether or use of imagination.

Inversion is an experiment – in forcing the viewer to see the work a certain way, in making myself think in terms of b/w and negative imagery again, and in creating a body of work that is initially meant to be seen on a screen – an experiment in seeing in reverse. It is presented on the web as a series of inanimate, animated GIF files that alternate, depending on the image, between color positive, color negative, b/w negative, and b/w positive. These changes occur in varying order and at varying intervals in order to emphasize the relationships between each version according to the needs of each image as I have determined.

I initially learned photography with chemicals and negatives in darkrooms and I wanted to go back to these roots and recall my initial sense of wonder. With Inversion I sought to explore digitally creating a negative where one had been left out of the photographic process with the advent of chip technology; to revive that step to get me thinking about and seeing images differently than the way to which I had become accustomed in recent years shooting digitally.

The Graphics Interchange Format (GIF) technology, conceived in the nascent stages of the digital era, allows for comparison and contrast within a single frame, without the need for diptychs or triptychs. Not only does it do away with said need, it outrivals it by providing a subliminal, nearly seamless transition from one state to the next. The viewer is invited to determine and question which state is inherent.

Inversion is sequenced following a rough, personal and mystical-philosophical arc beginning with the creation of the universe and ending with death, as a parallel to the creation and ultimate, pending death of negative film as a result of the digital revolution.