Into the Sunset

Centro Joyero, archival pigment print, 25

Centro Joyero, archival pigment print, 25" x 45"

Dallas Costumes, archival pigment print, 15

Dallas Costumes, archival pigment print, 15" x 44"

Charco Broiler, archival pigment print, 20

Charco Broiler, archival pigment print, 20" x 48"

Decatur, archival pigment print, 20

Decatur, archival pigment print, 20" x 40"

Dallas Public Safety Supply, archival pigment print, 20

Dallas Public Safety Supply, archival pigment print, 20" x 37"

Justice, archival pigment print, 18

Justice, archival pigment print, 18" x 30"

Naughty or Nice, archival pigment print, 20

Naughty or Nice, archival pigment print, 20" x 40"

Sundance Square, archival pigment print, 25

Sundance Square, archival pigment print, 25" x 41"

Texas Paint and Wallpaper, archival pigment print, 20

Texas Paint and Wallpaper, archival pigment print, 20" x 40"

The Dragon, archival pigment print, 21

The Dragon, archival pigment print, 21" x 35"

The Odd Fellows, archival pigment print, 20

The Odd Fellows, archival pigment print, 20" x 37"

The Things We Make, Make Us, archival pigment print, 25

The Things We Make, Make Us, archival pigment print, 25" x 35"

The scenes of North Texas presented in this project are all digitally constructed; as a way to underscore and explore the ways in which our built environments consist of composites of different architectural styles and cultures, created over time in different eras. Ranging from urban to rural scenes, these images remind us that the personal and cultural mythologies of the American West — and maybe especially Texas — have long been romanticized and shaped by images, including  movies as well as photographs.

While exploring a city or neighborhood, I create thousands of individual photographs and then digitally manipulate, assemble and re-assemble these photographs to create new images. Each image is typically made from tens to hundreds of bits and pieces of different photographs. Some of the images depict completely imaginary places. Some act more like visual hyperbole — or a tall tale — where I have recreated and embellished a scene I actually saw.

The image Texas Paint and Wallpaper, for instance, depicts a storefront painted with a mural characterizing the Old West. In my image this mural extends well beyond the frame, and so the blue of the mural sky blends into the blue of the actual sky; so when viewing this image there is a moment when one representation blurs into the other. The blue Texas sky seen in this particular image is the same sky that I’ve used in every one of the photographs in this series. I’ve moved around the cloud pattern slightly, and lightened or darkened the sky, but with close inspection one discovers they are the same sky. This repetition was a way to comment on the classic big blue sky associated with Texas as well as to play on the idea of a backdrop, as if these images are all just stage sets.

One of the more urban scenes depicts a Jeep advertisement on a giant billboard in Dallas, with a large empty parking lot in the foreground. The ad shows a Jeep driving off-road through the redwoods of the California coast. Here I want to reference the idea of manifest destiny coming full circle, where the West Coast meets the Southwest. One of the recent Jeep campaign slogans is, “The Things We Make, Make Us,”, which is the title of this photograph. This slogan seems to me to add a wonderful layer of irony and humor, with in its layered evocations of Americanism and capitalism, and with their environmental and political implications. It also plays directly with the ways in which the ideas of the Southwest and West are continually built into and referenced in our contemporary landscape.  Moreover, the slogan perfectly encapsulates the reason why I continue to make photographs, which is a curiosity about how The Things We Make, Make Us.