We both — photographer and writer — relish ambiguity. The holes we leave in our respective parts align and misalign, causing a para-narrative moiré which enriches the whole by implying a larger field than is staked out by the piece itself. There is an absent story (really a continuity of story) that subsumes the images and subsumes the writing, the two of which corroborate, undermine and bewilder each other. It is this absent story, as we see it, that comprises our real work. We particularly savor the collaboration it invites with our reader, of whom we ask only a willing suspension of belief.
The original isographs were commissioned by Portland gallery Fold (since folded) as a series of eight C-prints. Moving from book to framed print allowed the two elements, text and image, to share their space in a new way. In the interest of amicable relations, the working conceit is that here, in fact, word and picture are of equal weight. Though they operate on different faculties they point simultaneously to an implied third party, a vertex whose focus is the resonant effect of the specific tension between this text and this image.
It is natural, therefore, that the isographs are arranged as the dual plate of a stereoscope (the reference being abstracted in the two vertically stacked isographs). The two halves combine to produce a holographic parallax that engenders, ideally, a new sort of depth perception.
The isographs books were originally printed as companions to the prints, so that anyone taking a single print home could have all eight.