Part two of Copper + Performance work seen in countermask.

In my efforts to push what can be considered a photograph, I work with copper as a surface that can both receive and transform gestures of the body. This approach emerged from the different methods of careful pressing I developed while making my facial lumen portraits. I began to think about what it might mean to extend this action onto another surface, one capable of holding not just form, but duration. Copper offered a way to incorporate time and weight more concretely into the work, shifting the concept of a photograph of fatigue from an instantaneous capture to a slow accumulation of contact. The body oils that transfer to and remain on the copper creates areas of oxidation and residue that mark where prolonged contact on the metal occurs. These zones feel almost atmospheric, like condensation or breath on a surface. Here, copper does not function as a neutral ground, instead, it actively mediates the image of the body while holding its trace.