Todd R. Forsgren
Ornithological Photographs / The World is Round / Post-industrial Edens / Resume
Untitled Re:Iterations / An Imperfect Representation / Other Works / Order a Book






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Artist's Statement
Complete Image Index




Untitled Re:Iterations is a series of photographs selected from the rather large archive of images I made between 2000-2014, during my late teens, through my twenties, and into my early thirties. Binders full of negatives and positives of different shapes and sizes: 4x5, 120, and 35mm film. Hard drives brimming with RAW, .jpg, .tif, and .psd files. Images shot in different styles with different goals and in different parts of the world. Some are ‘snapshots,’ to use a dirty word, while others are more conceptually or technically driven. These images are my own contribution to the massive quantity of photographs that have been made during the first chunk of the 21st century.

The fact is, I love taking pictures. I’m addicted to taking pictures. In my other series of photographs, I’ve tried to fairly carefully frame my choices within certain art historical contexts. But this series is full of other sorts of observations, when I went out with the goal of seeing the world with as open a mind as possible. Relishing in looking, taking risks, and learning. Developing an ‘eye,’ you might say.

These photos aren’t organized chronologically or geographically. There’s no overt narrative, though details of my life certainly do bubble up. Instead the groupings are more nebulous; when I started trying to define or inscribe the images too carefully, it felt a bit like chasing a wild animal. Any attempt to approach too directly, too loudly, and it all fell apart. So I left things open and penumbral: glances at the edge of my visual interests. If I keep these ideas in the periphery, they flourish. Like those little recurring dreams you struggle to make sense of…

My goal was to make sense of all the data I’ve created, looking for patterns as though I’m performing statistical analysis. As I sifted through my archive, I found that when a photograph was supported by others taken in a similar spirit, complimentary viewpoint, or contrasting idea, something grew. The sum was greater than the parts. So I embraced that glassy eyed gaze and fuzzy arithmetic. As I organized, I resisted the urge to define anything too concisely—a struggle for someone who strives to be an empiricist like I do.