STATEMENT
In day and night, an American town has an odd character if you look at things the right way. Trees are monuments, and a window is more sinister than a shadow. These are the suburbs of strange dreams, where trees glow with the nobility of a portrait of a king, and each window is a new oddity. In day and night, light and color are only as real as the mind interprets, and photographic film and paper record these oddities, pushing the truth of a memory as far as the dreaming mind requires.
IMAGES
Queens, 2002
Ann Arbor, 2006
Brooklyn, 2006
Los Angeles, 2006
Los Angeles, 2006
Philadelphia, 2006
San Diego, 2005
Los Angeles, 2006
Ann Arbor, 2006
Long Island, 2005
Long Island, 2004
Brooklyn, 2006
San Diego, 2005
Los Angeles, 2006
Los Angeles, 2006
Friday, October 27, 2006
Wednesday, October 25, 2006
Friday, July 28, 2006
Portfolios
So I finally got around to editing together and writing about a short selection of the night work and the driveby project that I've been putting off scanning. Many of these are elsewhere on the site, but these are mostly new scans. Actually, I think they're all new scans. Anyway, if you want to start from the top:
Drive By
Night
Drive By
Night
Drive-By Portfolio
STATEMENT
Sitting shotgun is really the best way to travel. It’s only by leaning back and letting your eyes go slightly out of focus that the trees and wires and telephone poles really start to talk to you.
If you stare out the window of a car going 65 miles an hour, any single portion of the landscape flies by at the edge of perception. Where an eye can only report back to consciousness at its unrelenting pace, a camera can only consider one precise frame at a time. And from a car traveling the right speed and going the right places, each blade of grass becomes a brushstroke, and a tree is a sudden statement of clarity out of nowhere.
A camera shows the hazy majesty of the road; a moment revealed with your head against the window and static on the radio.
Andrew Ti, 2006
IMAGES
Untitled (Long Island, New York, 2004)
Untitled (Los Angeles, California, 2005)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (Ann Arbor, Michigan, 2005)
Untitled (Hudson, New York, 2005)
Untitled (Detroit, Michigan, 2006)
Untitled (San Diego, California, 2005)
Untitled (near Toronto, Ontario, 2005)
Untitled (Ann Arbor, Michigan, 2005)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (Ann Arbor, Michigan, 2005)
Untitled (Ann Arbor, Michigan, 2005)
Untitled (near Toronto, Ontario, 2005)
Untitled (near Toronto, Ontario, 2005)
Untitled (Long Island, New York, 2004)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (San Diego, California, 2005)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (Los Angeles, California, 2005)
Sitting shotgun is really the best way to travel. It’s only by leaning back and letting your eyes go slightly out of focus that the trees and wires and telephone poles really start to talk to you.
If you stare out the window of a car going 65 miles an hour, any single portion of the landscape flies by at the edge of perception. Where an eye can only report back to consciousness at its unrelenting pace, a camera can only consider one precise frame at a time. And from a car traveling the right speed and going the right places, each blade of grass becomes a brushstroke, and a tree is a sudden statement of clarity out of nowhere.
A camera shows the hazy majesty of the road; a moment revealed with your head against the window and static on the radio.
Andrew Ti, 2006
IMAGES
Untitled (Long Island, New York, 2004)
Untitled (Los Angeles, California, 2005)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (Ann Arbor, Michigan, 2005)
Untitled (Hudson, New York, 2005)
Untitled (Detroit, Michigan, 2006)
Untitled (San Diego, California, 2005)
Untitled (near Toronto, Ontario, 2005)
Untitled (Ann Arbor, Michigan, 2005)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (Ann Arbor, Michigan, 2005)
Untitled (Ann Arbor, Michigan, 2005)
Untitled (near Toronto, Ontario, 2005)
Untitled (near Toronto, Ontario, 2005)
Untitled (Long Island, New York, 2004)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (San Diego, California, 2005)
Untitled (Ann Arbor, Michigan, 2006)
Untitled (Los Angeles, California, 2005)
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