Christopher Young is not interested in photography, not, at least, in the media-based art form in which good and bad photographs coincide neatly with good and bad art and one picture is worth a thousand words.
Despite the impressive, painstaking techniques which he deploys in his drei
series, photography remains, primarily, a means to his artistic ends. He is obsessed with the mysteries of human presence in a world of objects always decaying, the before and after of being, traces of which lurk in every photograph ever made. In nominating two of his large-scale images, side by side, as one work, he challenges both himself and the viewer to establish a single coherent presence in relation to both.