The largest installation in Echo, an ode to the photographic process itself, consists of images made from 2005 to the present. McFarland revisits the past ten years of a vast personal archive, deconstructing the process of his quest through an expanded palette of Polaroids, newsprint, cyanotypes, silver prints, paint and graphite. Imbued with the determination to visually depict how photography “operates,” the installation offers a suggestive still life of equations, of which, perhaps, more than the process itself is revealed.
The word, ‘echo’ references historical templates in the language of landscape photography as a mediation of collective consciousness as it relates to the subject and its representation. Evocations of grandeur and wonder offer such experiences while simultaneously remaining pieces of paper suggesting a moonrise or mountain. These constructed views are treated with surrealist approaches through prismatic offsets, multiple exposures, and the creation of sculpture from photographic material. The process creates layered abstractions to evidence the illusion of such visual transmission.
Echo approaches the concept of photography as hybrid: part theater, part documentary. McFarland actualizes the lineage of natural representation by affording the deviant: a coincidental conversation is revisited across the boundary of time, compelling the experience of the witness beyond strict documentation, while exposing the emotive mythology of the landscape.