As a teenager I loved shopping in thrift stores. Not only was often cheaper than buying at the mall but the one-off nature of the previously owned and “found” object, even when you knew it was one of many that had been produced, felt more unique and special somehow. There was also the thrill of the hunt.

Finding, appropriating, and repurposing images has that same pleasure for me in particular when I stumble upon images that feel significant when least expected. I remember that some of these images were found in years old books and magazines at a cafe in Gastown. I was having a light meal on my own and flipping through publications on a bookshelf next to my table. Some other images happened while traveling in Norway and looking at a weekly, free magazine in which I could read none of the articles given they were written in Norwegian. True in many respects to the spontaneous and documentary capabilities of photography there was a decisive moment that needed to be captured.

There is a recontextualization that obviously occurs with photographs of photographs. That recontextualization is a further interpretation of not only the subject but the context of where and how the subject was depicted and the image then used. Rephotography always recontextualizes the past and so it is naturally anachronistic. With these images the way in which they were made is also anachronistic. They were created with already outdated technology, an extreme low resolution flipcamera phone, of images printed in magazines or books. Like portrait paintings of forgotten ancestors in a once grand stately hall, history has already created several haunting layers of anonymity around the subject, the image, and the source creator. Reprinted large format on soft watercolour paper with rich inkjet pigments, the images take on a second nature. Made tangible again, the overextended pixels reveal multi chromatic passages that mimic painterly mark making and transmute a technology driven process into a lush material experience.