The word “photography” comes from the French photographie,

which is based on the Greek phos (light) and graphis (drawing),

together meaning “drawing with light”.

 

In this particular body of work, Salt of the Earth, I address the

use of light in our society and its prevalence in a multitude of

circumstances. Besides the obvious necessities for light in everyday

human life, i.e. to see, to acquire vitamin D from the sun, or even

to provide electricity through solar power, there are many occasions

when light equals safety, for example, children are often times given

nightlights for a sense of protection. In the same fashion, we put up

lights on our streets, in our parking lots, and around our buildings for

security. If someone lives alone and gets scared because of a noise

or a scary movie, the first thing he or she wants to do is turn on all

the lights. But does the light really have the ability to protect us with

its mystical and even mundane qualities, or is it just a belief, an

exercise in faith?

 

There is also the concept of spirituality, as in “angels” or “fairies”

that people carry with them, or that travel with them through life

and protect them or guide them. Since the true form of these figures

is unknown, throughout different cultural mediums such as film and

books, we often times portray them as a spark of light, a flash of light,

a glowing orb, etc. But do these beings truly exist, or is it once again

just a belief, an exercise in faith?

 

In addition, people often think of light in terms of miracles. Once again

in our films and books, especially in particular genres, when a miracle

occurs, it is many times accompanied with that same spark, that same

flash, or that same orb. So in terms of everyday miracles, like childbirth,

or death, how and why do we as a race choose light to illustrate these

events? What is the attraction to light?

 

I also ask the question from my perspective as the artist, if I let the

electrical cord of the light sources show in the image, it does not take

away from the belief of the subject in the image of the being’s existence

or of the light’s protective abilities, etc., so what does this mean to

the viewer? Hopefully it will leave the viewer with the question of what

is faith or how does one achieve faith? Through a series of images

incorporating scenes involving sleep and illness, pregnancy/birth,

death, and everyday practical concerns such as driving or reading

at night, I examine these concepts relating to the interaction of

the human form with light.

 

I chose very specific light sources, salt rock lamps, which are

mined in the Himalayan Mountains and then transformed into lamps.

The result is a very organic object, each one with its own individual

markings and color. Through the use of this natural and idiosyncratic

material, I combine both the human element as an organic and

individual organism itself, and also that in essence we are all made

of the same substance at the core.  

 

In addition to questions involving faith, I also address the story,

the historical survival that we all face in the form of preservation for

both our distinct quintessence, and our familial lineage. Through the

use of the story, we often times communicate that which we find

necessary to carry on through time, as well as to inspire others or to

learn from ourselves. I decided to use Oriental script scrolls, which are

many times used to communicate a story or a proverb, to present

small vignettes into the lives of the individuals in the images, not

only incorporating their interaction with the light, but how that light

travels with them through an event, a place, or a time. This creates

not only a voyeuristic experience but also one of helplessness; we can

only sit quietly and watch, we cannot interact or take action to change

the story. The helplessness in turn draws us back around the questions

of our own life paths, how many times we are not in control, and helpless

to the whim of unseen factors. And in every instance of helplessness

what is the story we are creating, that we then tell others, that may

inspire, or that we ourselves learn from to redirect our path to the next

event and set of circumstances.

 

The images are meant to display both individuality and community,

both faith and loss of control, both the story and the witness, and

create an experience for the viewer of both duality and reflection.