Corey Escoto’s practice is born from an almost Structuralist engagement with analog photography, as the artist delves into the decay of analog film and the rise of digital imagery. In his technically rigorous process, Escoto installs stencils into his Polaroid camera, using it to produce four-by-five-inch photographs that alter light and space into geometric abstractions, while maintaining an indexical relationship to the natural world, despite their having no optical resemblance to it. The photographs serve as the inspiration for abstract sculptures, thereby reversing the traditional relationship of image to subject and further complicating Escoto’s engagement with form and image.