Patrick Todd







I use the medium of photography as a way to understand my environment -- both to record closeups of visual details I might otherwise pass by, and well as for the sense of awareness and perceptual mapping the 'long-throw' view affords me. Urban marginalia (construction-site materials, rooftop signage) and suburban vistas (long stretches of highway) carry equal visual weight and importance for me. I only shoot what I find interesting, and what I find interesting is personal.

You might say that if a thing or place has what I'd consider 'metaphysically photogenic' properties, I shoot it; later on, I figure out where it will fit in to my output: whether as stand-alone photograph that I alter in Photoshop and print, as a single element in a composite sculpture, or simply as the idea for a painting.

The camera is a superb sense-memory tool. When, today, I look at the picture I took three years ago in the heat of South Florida sun with the car radio blaring, or at the image I shot, two years ago, on a Bushwick street in utter silence, I immediately recall the atmosphere: the sounds, smells, the way the light fell on the highway, the pavement. Triggers like these help me make an important leap of faith in my work, overall: my photographs bearing witness to the limitations -- and potential -- of my subjective perceptive apparatus (my eye, my mind, my touch) even as they witness the visual data and banal content of their ostensibly factual subject matter.