The pictures that make up “other worldly” consist of an honest look at my own contradictions. I have an untempered desire to disappear into the woods, dive into oceans, and observe wild animals with voyeuristic intensity. I rue the constant ringing in my ears, and criticize the modern industrial disconnect from the natural world, while still taking advantage of its benefits.
Using binoculars to take photographs, I employ a literal lens through which to depict a symbolic distance from our world, looking upon it as “other”, as not mine. Photography can serve as an artifact, and when abstracted, it can become an artifact of experience. Visual art became possible when evolving human brains became capable of abstract thought. The way science and evolutionary theory overlap with expression and emotion is well-suited subject matter for photography.
These photographs are a limited visual representation of my own experience of biophilia, a term used by sociobiologist E.O. Wilson and explained as “the innate affiliation people seek with other organisms, and especially with the living natural world.” Sentimentality and science coexisting.
Looking through binoculars makes me think of the theories of E.O. Wilson, the critical essays of John Berger, the poems of Mary Oliver, and ragged, urgent guitar music, in equal parts.