Over twenty years ago, Greiman started a project with a what she says, was a 35mm Nikon and later a Polaroid SX-70. From brief scenes of trees, plants, and other forms, she took these images within her moving car. To her, she was attracted to the “tension between control and lack of control” of how she was capturing these images and she wanted “to bring natural form” into her camera “almost unconsciously, exposing its hidden energy within the act of seeing,” (Greiman, April). Though she now uses digital cameras, Greiman saw this technique as a way in which natural energy transforms itself into images and into pixels, a “parallel landscape of transformative digital energy” where, “Grass becomes fur, solids become transparent, light becomes volume, an instant becomes an object of extended study,” (Greiman, April). In writing about her own work, she continues saying that “In contrast… ‘objects’ in their own right – streaks and washes of color develop an almost painterly presence equal to the now translucent solid forms, creating a single, almost biological, texture,” and with that, you have things breaking down into semi-transparent blurs to a point in which everything loses its former identity, background, foreground, all of it (Greiman, April). The whole entirety of it, captured by the low resolution from which the pixels are the fabric that weaves nature and technology together, creates this instantaneous chaotic visual that, as April Greiman says is where, “the process is the product.” It all creates a unique observation as a person perceives these images that are deconstructed, and ultimately in a way “the observer is observed” (Greiman, April).

Sources:

• April Greiman, aprilgreiman.com/?projects=driveby-shooting-april-greiman-digital-photography.

 

+Image source for project:

• http://drive-byshooting.com/installation.html