TARYN SIMON

Photography threatens fantasy.

Photography's ability to blur truth and fiction is one of its most compelling qualities. But when misused... this ambiguity can have severe, even lethal consequences.... Photography's ambiguity, beautiful in one context, can be devastating in another.

Simulations directly relate to the process of and complications in photography. They also overtly create layers of fantasies, myths and interventions... The simulation confuses the idea of a truth. I've always been interested in this kind of theater and illusion at the foundation of belief.

Archives exist because there's something that can't necessarily be articulated. Something is said in the gaps between all the information.

The majority of my work is about preparation.

There is no truth in photography. One can't reproduce an absolute truth. That said, I don't see [my photographs] as being any less truthful than any other photographs.

The photograph doesn't claim to be a participant, or to know, or to be a club member of whatever it's documenting - photography is more demanding when it doesn't pretend to know.

You come to the photograph as an aesthetic object with no context... Then you step in and read the text and then out again to revisit the image in a completely different way. I'm interested in that space between text and image. The piece becomes the negative space between the two.

I'm designing a seductive frame to attract an audience to a subject they would otherwise ignore. And that's what I do in all of my photography - give a stage to things that wouldn't normally receive that stage.

I'm interested in the murky areas where there are no clear answers - or sometimes multiple answers. It's here that I try to imagine patterns or codes to make sense of the unknowns that keep us up at night. I'm also interested in the invisible space between people in communication; the space guided by translation and misinterpretation.

My work is drawn to the political but avoids an agenda. There is no inherent critique or support.

I do seem to try to make things harder and harder for myself. In some perverse way, obstacles interest me and I'm drawn to projects that end up being incredibly laborious.

I'm interested in the murky areas where there are no clear answers - or sometimes multiple answers. It's here that I try to imagine patterns or codes to make sense of the unknowns that keep us up at night. I'm also interested in the invisible space between people in communication; the space guided by translation and misinterpretation.

In my work, I construct texts and images. Between those two points the blur occurs. Each is altered by the other again and again, back and forth.

The majority of my work is about preparation.

Simulations directly relate to the process of and complications in photography. They also overtly create layers of fantasies, myths and interventions... The simulation confuses the idea of a truth. I've always been interested in this kind of theater and illusion at the foundation of belief.

I'm designing a seductive frame to attract an audience to a subject they would otherwise ignore. And that's what I do in all of my photography - give a stage to things that wouldn't normally receive that stage.

You come to the photograph as an aesthetic object with no context... Then you step in and read the text and then out again to revisit the image in a completely different way. I'm interested in that space between text and image. The piece becomes the negative space between the two.

Photography's ability to blur truth and fiction is one of its most compelling qualities. But when misused... this ambiguity can have severe, even lethal consequences.... Photography's ambiguity, beautiful in one context, can be devastating in another.

Documentary photography is becoming more illustrative as people become more familiar with photography’s limitations and vulnerabilities. Reality has always been interpreted through layers of manipulation, abstraction, and intervention. But now, it is very much on the surface. I like this honesty about its dishonesty. Every photograph has many truths and none. Photographs are ambiguous, no matter how seemingly scientific they appear to be. They are always subject to an uncontrollable context. This is a tired statement, but worth repeating.

The photograph doesn't claim to be a participant, or to know, or to be a club member of whatever it's documenting - photography is more demanding when it doesn't pretend to know.

I want to see everything. I guess the positive version of not seeing or not knowing would be preservation of fantasy.

There is no truth in photography. One can't reproduce an absolute truth. That said, I don't see [my photographs] as being any less truthful than any other photographs.

Photography's history is bound to the mistake, to the accident.

Photography threatens fantasy.

Archives exist because there's something that can't necessarily be articulated. Something is said in the gaps between all the information.