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Perceptions of Reality:
Traversing the Real and the Artificial Through the Lens

Over the last two decades, our society has seen a dramatic shift in preferences, from the authentic to the fabricated. This evolution has blurred the lines between the real and the unreal so intricately that distinguishing between the two can often become challenging. A representation of this phenomenon is explored in a series of monochrome 5x4 film images of artificial flowers, drawing inspiration from the stylistic techniques of photographers Edward Weston and Imogen Cunningham.

Each photograph in the series serves as an arresting representation of this dichotomy between reality and artifice. The artificial flowers captured through the lens, radiate an intense vitality and beauty that can easily deceive viewers into thinking they're gazing upon a living bloom. This artistic choice is a powerful reflection of our times, where synthetic experiences and objects are increasingly preferred over their authentic counterparts.

The series, shot in the traditional medium of 5x4 monochrome film, adds another layer of paradox. While the images depict the inauthentic, they're created using traditional, authentic photographic techniques. This intentional fusion serves as a profound statement on our shifting perceptions of reality.

Much like the works of Edward Weston and Imogen Cunningham, who championed the potential of objects often overlooked, this series illuminates the inherent beauty in the artificial. It pushes us to question our understanding of what we consider 'real', urging viewers to reassess their notions of authenticity in the modern world.

In a society where the line between the artificial and the real continues to blur, this series compels us to face the reality of our changing preferences. These photographs invite us to question, explore, and ultimately accept the complex interplay of the authentic and the fabricated in our daily lives. It's a stark reminder that reality, much like beauty, often lies in the eye of the beholder.

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