Only The Fires Say comprises pictures I took without premeditation over the course of several summers, between 2006 and 2016, in Europe and East Asia. I responded to particular lighting states and to seemingly insignificant scenes that ‘called’ to be photographed and transfigured. I worked with perceptive stimuli more than concepts. If the pictures were to take on any meaning, this would come later, through their assemblage.
The gathering of these samples steadily formed a personal archive. During the summer of 2016, I began to explore this ‘jungle’ of pictures, which had until that point remained dormant. I edited a visual poem composed of a sequence of black and white images, punctuated by the motif of a field fire in color. I wanted to observe how these disparate images interact, like experimenting with different chemicals or reordering the lines of a poem. Although there isn’t an implied narrative as such, certain subjects (combustion, water, children, animals) and impressions (void and fullness, slow and fast) recur throughout the sequence and may echo or contradict each other, proposing an intuitive reading of an archive of experience.