Photography is subjective. The precise moment when the shutter is triggered represents a decision to slice a fragment of time that removes the subject from its outside context almost as a surgeon excises fragments of the larger human organism as a means to isolate it from its supporting system. This visual vivisection often occurs contrary or independent of the subject’s will or intent. In essence, the decisive moment in its hyper-focus is deceptive; it explains the wishes of the photographer but removes the complexity of the subject’s full story in favor of the fragment.

While the advent of motion pictures is nothing new, the ubiquitousness of the short-format is. Platforms like Instagram, Vine, and Snapchat have served to create standardized 6-15 second canvases which expand the decisive moment from 1/8000th of a second to incorporate more of the surrounding moment. We believe the new format for short motion pictures is not a reduction of video but, rather, an expansion of photography. Essentially, the decisive moment has grown. The dreams and fragmentary communiques offered by a still frame have also grown with it. The beautiful, short moving moments captured in this new format continue to represent decisiveness but come pre-loaded with additional context.

Dreams in Disguise

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