The tradition of linear forward marching time is backward, from the standpoint of the Aymara people of South America. They see history as lying in front of them. Because history consists of known events, they can “see” it. In their language nayra mara means “in past times or history,” but translates literally as “time in front.” Conversely, because you can’t see what is behind you, it is unknown. The Aymara see this as the future, since they haven’t “seen” it yet. 1

The Aymara’s concept of forward/past opens doors for artist to explore the relationships between past and future in new intriguing ways especially through photography, which has been traditionally viewed as a method of recording historical facts, in essence capturing history for posterity.

Photography has long been viewed this way and relied upon as a documentation tool, but actually photos have been altered since the beginning of the craft, thus subverting history as a result. With today’s digital technology the ability to alter photographs (and the perception of reality) has escalated due in part to the digital camera but mostly through computer/software advancements. This is where the artist can really enter the picture, so to speak, to experiment with technique and subject. Photography, in the hands of a conceptual thinking artist, can demonstrate anomalies of space and time.

Take for instance my recent photographic explorations in the series LANDeSCAPES. Here I deal with the past/future, front/behind issues as well as findings from cosmology and physics such as space/time warps and parallel universes. In essence, I photograph the landscape that lies before me while capturing the landscape behind me by using mirrors. I am particularly interested in the boundaries of differing scenic features like, dessert/ mountain, land/sea, and wilderness/developments. By using mirrors, I am able to show two points of view at the same time. I (as the documentarian) am located between these two views. Essentially, I am in each photograph (sandwiched between realities) yet not visible. Only my points of view are apparent.

In this series, I am striving to address how we view history; is it what lies before us (as in Western thought) or what lies behind us, as the Aymara believe. Perhaps both are true; perhaps reality lies in between, or on a parallel plane. In some of my photographic pieces, I have digitally pierced the mirror to create a portal, a door, from one reality to the other.

Footnotes

1. Nathan Bierma, Special to the Tribune, “South America’s Aymara Put Future Behind Them,” Chicago Tribune, July 12, 2006, pg