I love the way you constructed these images. The warped and layered objects makes me feel like I'm looking at the world in a fun-house mirror reflection. Creepy and intriguing.
I see that you had 143 viewers - 45 times of them must be me!
I fell in love with the technique in which you presented your dance macabre. It's undoubtedly photography with some nodding to charcoal drawing: the erasures make the magic here.
Your pictures are somehow reminiscent of some of William Kentridge work.
I do have a favorite although I would not take it outside this wonderful essay.
Interesting effect created by your image overlay and/or post processing. Easy to get lost in this collection. I can't help wonder what your inspiration was and what you hope we take away. Maybe it's as you intended and the less we know the better. A very mice addition to the side challenge.
This series is beautiful and, like the face of an angel, a little bit terrifying.
It illustrates the unknowable memories that we all share but can't name.
Cave paintings done with light and shadow.
Each one of these 5 is a trusted part of the whole.
Nothing left out, nothing extra.
The hands are bony wings.
This series of photographs looks at first blush like it's going to be discomforting. Fragments and glimpses, uncertainty, ambiguity; these are the things that make our dreams – the ones that wake us with a gasp – so shocking. But there's a perverse (in the sense of inverted) quality about them, especially the first four, in that the longer you look at each one, the more it resolves itself into something oddly soothing and familiar but imperfectly recalled.
This essay is superficially complex but essentially simple and pure. That's a rare and thrilling combination; something that made several of the great poets great.
And I also love the 'granular ink' look of the images, and the artefact-style border. These make the images look as if they have been wrested from a recalcitrant memory.
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