My 2009 photographic study, Kitchen Globes, was initiated as a formal study in perceptual reframing: the less-than-exceptional contents of my kitchen cabinets take the stage as secret portals into exquisite natural landscapes. With Kitchen Globes, I began to explore the relationship between the spheres of information given and the impact of information received. In Deleuze on Cinema, Ronald Bogue writes of the power of visual ambiguity (information given) in provoking active intellectual activity on the part of the viewer (information received). He writes: ”…a shot may remain un-explained in narrative or pragmatic terms, in which case it may function as what Bonitzer calls ‘deframing’, an unsettling angle of framing that suggests a non-narrative motivation for the shot, one that must be ‘read’ or interpreted.”
Kitchen Globes presents unexplained phenomena with the intention of bringing the viewer into an unavoidable relationship of wonder with the least expected of signifiers. Isolated in darkness and virtually effulgent with quiet sibylline surprise, Kitchen Globes dares the viewer to look twice, look expectantly, and look critically at everything.
