Each of their works explore distinctively unique storylines with underlying themes that are constantly overlapping, merging and separating out only to come together fundamentally in their deconstruction of photography, narrative, and storytelling.
Jonathan Liu’s series ‘Mystery is a Compass’ follows the steps of young Evertte Ruess, a 20-year-old boy who disappeared into the US desert in 1934. Through expansive diary entries and photographs made in the very desert that Ruess was lost to, Liu expands upon Plato’s Menoultimately questioning what it is to search for something when it’s form is utterly unknown.
Victoria Louise Doyle’s ‘The Photograph’ reflects upon Roald Dahl’s story The Witches in which a young girl goes missing from her home only to reappear as a figure in a paintingin the family’s front room. Doyle considers the photographic image not only as a segment of time but also potentially as the taking of a physical space.
Photography is used by both artists as a conduit of thought. The process is key and one that enables direct contact to the subject of investigation. The space of the photograph is put into practice and movement through the image encouraged. A shifting of balance occurs as looking is used as a device for reflecting.