The thesis rethinks aspects of a single scene by shifting frames to reveal the hidden world of the perfect scene.
Photographers Cortis & Sonderegger produce provocative scenes, choreographing offstage conditions—photographing the “bigger scene” where things like tools, materials, footprints, rituals and the process of setting the perfect scene contribute to the reconstructed scene. Leveraging three variables—camera location and direction, alongside framing the image, offers the possibility of completely different results. It is in these realms that the thesis finds bearing.
As related to pursuing the perfect scene, the thesis is grounded in techné—the Greek word for "craftsmanship", "craft", or "art". This, in relation to the common roles of technology—a systematic selection and rejection toward a single final outcome. This work includes more than a single scene, where contexts, history, and temporal conditions are included and thrive, offering broadened potential for establishing a scene. The “bigger scene” allows a shift away from an untouchable, perfect image, to a place where the materials and dirty work once again shed light on ‘another’ im/perfect scene.
The “techne” hidden behind idealized scenes is sometimes noisy, chaotic, informal, and unorganized. Motivated by this realm, this thesis harvests the ecology of activities outside the perfect scene, augmenting the peaceful, wonderful, and perfect scene captured inside—generally intended to make an argument for two familiar words in contemporary culture: “efficiency” and “stereotype”.
The thesis is situated in two situations, scenarios—the interior of a human-scaled theater, and in relation to the exterior of an urban scaled airport. Actively engaging two key aspects, space and time, the thesis utilizes x-ray techniques, exploded diagrams, reflection, shadow and rituals. These, analogically linked to things like recording machines, and biomedical equipment, gradually reveal the world of the unseen and uncommon, enriching what spatial realms might discuss.