In the novel Field Guide to Getting Lost, Rebecca Solnit describes, “To lose yourself: a voluptuous surrender, lost in your arms, lost to the world, utterly immersed in what is present so that its surroundings fade away...to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.”
Fully Present describes a similar visual immersion. The images present a sequential journey of visual phenomenon, aesthetic objects, and the emotional quality of color and cyan light. The domestic environment and objects show multidimensional perspectives to witness strange, beautiful, and fascinating occurrences. Hands and faces reach out to feel, but are devoid of warmth. Objects become vessels for sterile descriptive information. In looking one witnesses and participates in a hypersensitive transfixed satisfaction with subtle, odd, and captivating phenomena.
