Jim Kazanjian’s work occupies a state of material transience: None of the images qualify as photographs, yet each piece is entirely photographic. Built upon the persuasive testimonies of hundreds of anonymous snapshots, his landscapes are completely fictitious constructions. By recomposing photographs (rather than shooting them), Kazanjian liberates himself from the fastidious burdens of representation. This freedom gives way to an uncanny space that is both familiar and foreign.
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