Stylistically the Evidentiary Color Series takes its construction from crime scene (forensic) photography, with references to the glossy look of advertising images.
Contentually the series concerns itself with product packaging and the æstheticization of the commodity.
The color chart, while referencing the colors of the products, functions as a self-reflexive mechanism,
as a deconstruction* of the photographic document; interfering with, impeding, frustrating the viewer’s desire to perceive what is imaged as some truth unknown to them that is somehow ‘artistically’ revealed by the photographer.
* I use the term here in its original Derridian meaning — to analyze
in order to expose the hidden internal assumptions and contradictions, and subvert the apparent significance or unity of ‘the text’ —
and not the more fashionable and depoliticized usage meaning “a dismantling.”