Your Work Was Featured In Foam Magazine’s 2012 Issue; What’s Next? How Do You Feel Photography Has Changed In The Last 12 Months, Can You Reflect On Any Significant Trends Or Developments That Have Taken Place ? 

Without delving too deeply into some theoretical concerns I have outlined in an upcoming exhibition catalog I can say that I don’t feel that there has been any real sea change in the photographic landscape over the past twelve months. There has been a refinement and an articulation of some of the concerns that have been circulating for a few years – but I haven’t noticed ant dramatic aesthetic or conceptual movements. That said, I have begun to see the necessity of this critique far differently, and generally in a more critical way as I would like to see a more critical engagement with the photograph that isn’t grounded in process-based metaphotographic critique, even though that is an intensely valuable discussion.



On Presenting Your Work Within The Issue, The Writer States That Your Work Wrestles With The Questions ‘ How Do We See? What Are Suitable Subjects For Photography? And What Are Viable Means Of Image Making? ‘ Do You Feel This Is An Accurate Perspective Of Your Work’s Intentions ?

I do, and actually that passage was from an artist statement penned in 2009 that I still adhere to for New Work. Essentially, I am still exploring these ideas, and that notion of exploration is crucial – I am not posing solutions; I am more interested in understanding the cultural and aesthetic systems that govern our perception and pursuant to that, our comprehension (broadly speaking).

Having Worked With GIF’s In Your Series’, Is Permanence A Key Theme Within Your Work ?

From time to time it is (no pun intended). I’ve worked with a few processes that change or degrade, but they are more focused on implicating the viewer in the work.

Your Work Adopts Varying Processes And Approaches, Not Sticking Specifically To One Medium, What Drives Your Process For Each Project ?

I generally try to be guided by which process or medium seems the most effective for the work I am producing. For example, I think a necessary component to critique, expand, or understand traditional notions of the photograph necessitate the ability to step outside of those understandings of the medium and work from the outside for a little bit.

What Drives Your Online Curational Project ilikethisart ? What Does It Offer That Other Online Sources Do Not ?

It started as a resource for me to keep a personal archive that was tagged in a way that enabled me to find work I had seen and couldn’t specifically recall artists names, contexts of projects, etc. It still serves that primary function for me, and has become a great reference for y own work. The one thing I wanted to provide at the beginning was written context for every artist shown – I felt that was missing at the time (2009). That said, I think there are quite a few really solid sites that do that now.

Through ‘ilikethisart’ You Inevitably Intake A Great Deal Of Visual Work, Is It Possible To Experience Too Much Creative Output ? 

I don’t think so, it has been an incredibly rich and rewarding process for me and I haven’t felt overwhelmed by the amount of work I look at – it is actually quite the opposite. The more I engage with contemporary visual culture (and its historical precedents) the more able I am to engage in a discussion of those systems.

What Projects Are You Working On Now ?

SUPERBLACK at the Transformer Station, March 29th 2104.

www.jordantate.com / www.ilikethisart.net