This ironical work is not about the object, but rather about the representation of the object. More specifically, it is about the reinterpretation and process of repurposing the object. "A Ply" is a meditative macro exploration with formally constructed compositions of undulating square planes. These mysterious sheer planes are sculpted and suspended in a space of about three inches and then photographed. This material, typically associated with the mundane, is disassociated from its original context. The image of the object is not what it physically is, but becomes what it is to be. Ceci n'est pas une papier toilette. All resulting grayscale photographs reflect an inconceivable relational scale in an unidentifiable ethereal space, as depicted in the work of Frank Hülsbömer.
Echoes of Duchamp and Weston may be found in the process of creating this work with the inclusion of American plumbing. These photographs have a subtext toward deconstructing the idea of traditional photography and breaking conventions of how the medium is typically used. The images are straight photography but are not true renderings of physical reality much like the work of Eileen Quinlan. Connecting and overlapping ambiguous plies of tissue mimic, and can become, anywhere from surreal metaphysical landscapes to conceptual architecture as in Richard Serra's Ellipses. Perception and space are integral parts to the subject, as in the work of Uta Barth. The visual surface quality of these photographs, however, is often mistaken for graphite or gunpowder drawings comparatively to those of Ed Ruscha's Sheets. These peaceful images reveal fibers of our existence and planes of consciousness in a quasi-Zen format. A clean pure energy is charged from the taint of our daily lives teetering on the idea of an aesthetic truth.