Jim Kazanjian digitally manipulates and assembles sections of photographs found online to create composite images that mimic real photographs but do not depict any actual spaces or objects. He typically uses 12 to 30 found images in a piece, which he samples and combines in Photoshop in an organic process of discovery. Kazanjian is interested in how his manipulated images can suggest something beyond their obvious meaning and unfold new interpretations through continued viewing in a non-linear way similar to how people interact with and understand images, rather than through linear language. He works in photography because of its perceived objectivity, which allows him to set up visual tensions in his work to further engage viewers.

1. DISTORTION
Dis-tor-tion A distortion is the alteration
of the original shape (or other
characteristic) of an object, image, sound,
waveform or other form of information or
representation.

2. Jim Kazanjian

4. My images are digitally manipulated composites made from photographs I find
online. Currently, I have a database of over 26 thousand high resolution photos in my
collection. The number of found images I work with in a piece can vary from 12 to
30. On the more complex pieces I’ve used upwards of 50. I generally sample sections
from photographs I find interesting and use them as building blocks. I assemble
these “blocks” together in Photoshop to create a nonexistent space that mimics a
photograph. I do not use a camera at any stage in this process.
Generally I prefer to work in a kind of organic way. I start with a vague idea and then
let the pieces inform my editing process. Some things fit together well and others do
not. It is very similar to solving a puzzle except it gets more difficult as I progress,
instead of easier. Most of the time, if I pre-conceptualize the work too heavily, it
becomes more of a compromise and forced. I prefer the process to be one of
discovery, the final result always seems to be much more effective.
I am interested in how an image can have the potential to unfold and suggest
something outside of itself. By this I mean something beyond the obvious and only
discovered through a continued process of viewing. It is this act of “looking” that I
find fascinating because it does not follow a linear progression like language but is
interactive and random.
I’ve focused on photography as a medium because of the cultural misunderstanding
that it has a kind of built-in objectivity. This allows me to set up a visual tension
within my work, to make it resonate and lure the viewer further inside.
- Jim Kazanjian

8. Susan Burnstine
Susan Burnstine portrays her dream-like visions entirely
in-camera, rather than with post-processing
manipulations. To achieve this, she created twenty-one
hand-made film cameras and lenses that are frequently
unpredictable and technically challenging. The cameras
are primarily made out of plastic, vintage camera parts
and random household objects and the single element
lenses are molded out of plastic and rubber. Learning to
overcome their extensive limitations has her to rely on
instinct and intuition... the same tools that are key when
trusting in the unseen.