1989-1997 OOP towing its seemingly paradoxical strict

towing its seemingly paradoxical strict docu-aesthetic line: he never crops his photographs

I could easily have been taken for one of them

loss and grief — biblical in its scope

84 four-color plates

His fictional identities are depicted in equally fabricated scenarios that are replete with references to both the art historical tradition and Freudian sexuality

1989-1997 OOP towing its seemingly paradoxical strictI started taking photographs as a teenager, nearly twenty five years ago. Since then my work has been an ongoing meditation around desire, loss, and the role of photography as a vehicle for remembrance. My pictures often function as metaphors for the way the mind works: simultaneously collecting images while letting others go, fading in the way memories fade, and alluding to the fact that, historically, photographs have faded as well. Bill Jacobson