This body of work is about five things: sound, memory, time, movement, and surface. These photographs are real-time documents of preserved sound being released and preserved again by the camera. There is an intersection between the system of the record player and the process of photography. As photographs, they emit no sound, yet a viewer may unconsciously remember or imagine the song depicted - the year, the band, the time period. Durations can be compared and considered. The ghost arm is the result of the leftover time (silence) needed to maintain equal exposure times for each song. Longer songs in this series have fainter ghost arms, but the arc of the needle’s movement is not always constant because different records are tracked differently.
The grooves of a record require movement and time to decode the information they hold. As time and movement are recorded on photographic film, colours and shapes change, sound is lost, movement becomes stillness, miniscule grooves become patterns. Object and event become process; process becomes surface; the surface holds information which can be revealed but not decoded. Photographs are two-dimensional by nature, so this information on the surface of the record must be decoded by some other process, possibly memory.
Time can be recorded in many ways. Consider how many ways we are bound to time. Music and sound require time to occur. Photography requires an exposure duration. Memory is instantaneous, but contemplation takes time. These photographs are the result of long exposures, but can be viewed in an instant. How much time passes before the encoded information is unlocked and contemplated?