Signature: signed, dated and editioned en verso
Michel Foucault, a French historian whose writings were highly philosophical, regarded the term “episteme” as indicating a basis for all possible knowledge and discourses for a particular era. Vilem Flusser, in his work Toward A Philosophy of Photography regarded the episteme of photography as an “apparatus,” something through which possibilities are predicted, limited and thoroughly redundant. My use of the term episteme for this series is an attempt to define the realm of possibilities and dictates of the usually invisible or underplayed stratum of film. The Polaroid film, in itself, lends a tremendous amount to our understanding of objects we recognize. Because these prints result from film that was never exposed, they are representations of the capacities of the film rather than any outward objects.