Mayo’s view of the James
This layered view of the James River merges memory, place, and perception, showing that what we see is never singular but accumulates over time. Familiar landscapes become spaces for reflection, where personal history, awareness, and shifting perspective shape the encounter. It invites you to consider how observation and memory intertwine, revealing the fluid, constructed nature of perception.
Title: Mayo’s view of the James, 2020
Size: 15 x 20 in. image on 17 x 22 in. sheet
Medium: Archival Pigment Print on 100% cotton rag paper
Printer: Personally printed by artist
Origin: Direct from the artist
Authentication: Signed/Numbered + Certificate
Edition: 15 + 1AP
Print only, unframed.
Custom sizes available within edition, Inquire.
$350.00
Mayo’s view of the James is from my Colliding Views series, exploring how perception is shaped by ambiguity, memory, and personal interpretation. The series begins within my own sense of the familiar, transforming ordinary environments—urban, rural, or coastal—into poetic spaces where memory, experience, and perception intertwine. Through in-camera overlays and intuitive experimentation, I invite chance and collision to expand meaning beyond the predictable. In this instance while standing on what is known as Mayo’s bridge over The James River.
My engagement with each image unlocks a world built on the power of perception, the beauty of absence, and the poetry of transformation. Fleeting moments become universal impressions, pushing beyond the visible to give form to the invisible. This desire—to reveal what lies beneath the surface—is evident both in my choice of subjects and in my attention to the textures and physicality of the photograph itself. Every tonal shift , element or imperfection becomes part of the image’s physical story, reminding us that a photograph is not merely documenting reality but an object with its own presence.
By making these interventions visible, Colliding Views exposes the constructed nature of seeing and the multiplicity of meanings that perception allows. The work becomes less about documenting a place than about revealing how we experience it—how our memories, emotions, and awareness shape what we believe to be real.
