The principle of Gestalt theory states that the whole is greater than the sum of its parts. Underneath represents the whole, but also the parts of one person's reality in time and space and how it is re-configured.
The mind goes through a cognitive process when viewing the whole, where it moves from understanding the parts to realising the whole.
The whole is both the subject and object, but also the surround. The surround is perceived as reality, but one must question whose reality it is and how it is projected.
Each image is fanciful, like the collective moments in our lives. Postmodernism's authenticity never existed, and all art, including photography, never depicted reality but only an idea of it. Underneath is the re-photographing of slides from the 1960s, which is a regenerative act of collaboration that transforms someone else's records and memories into something whole and continually knowable.
Through re-photographing the images using a 19th century photographic process, I'm repositioning the forms and someone else's vision, giving it a new meaning in a new context. It provides for the possibility of a projected reality, and I'm asking the viewer to be both the subject and object. Photography is both a reflection and manipulation of reality, and it is viewed and judged by that vision. It is not correct to say that photographs depict the truth, they depict slices of life selected and framed by the protagonist.
"Underneath each picture, there is always another picture.”
- Douglas Crimp