We were born in the age of reason. But, we live in New Orleans. Time here has no context, the whole city is like a photograph, frozen in an old moment, but continually aging. It is this contradiction of time and place that surrounds us when we make photographs.

We re-invent reality. We create what we think we see.

 

The subjects for the series are what we think of as a universal “creature”. What we found suggested the symbols and goals of photography itself – stopping time, preserving, idolizing, explaining and mystifying.

 

The first stage of our creature photos began as outsiders looking in. We lived with them, set them up and like a crime scene began moving around them, studying their form and finding every angle. We were seeking personalities. We shot them inside, outside, lit with every available light source. We primarily use Holgas, but other, more expensive cameras were occasionally employed. In essence, we ran it like an experiment; the creatures being the only constant.

 

Our second stage takes the discoveries of each creature’s personality and, like insiders looking out, we create new realities – fictions of each creature and the characters they can portray. They are becoming more narrative but still maintain an associative nature.

 

The way these images are interpreted is dependent on individual history and experience. Some see contorted creatures, sad and lonely, trying to be accepted for what they are, yet too alien to ever have a chance. Classic Frankenstein. Other people may see beautiful but strange creatures that are totally at peace. It’s this ambiguity, which gives viewers ample room for interpretation, that has begun asking more questions of us than they answer.

 

Our style has evolved from working in print making, painting, photography and the conviction that the negative itself is sacred. We now try to avoid the preciousness usually associated with the production and presentation of photography. There’s no “white glove” approach. To that end, we begin with the destruction of the negative. We wax, stain with blood, crush and tear the final print. We also print the images at large sizes, again negating their preciousness. There are editions to each piece, but in order to maintain an organic feel, no two are exactly alike in size or color. The prints are made on Japanese handmade paper in order to mimic the color and texture of the creatures as well as give an extra sense of the artists’ hand. And like the old adage that every picture tells a story, our photos also have a tail.