Images of coyotes caught on wildlife cameras printed on vintage mirrors. These pieces were created with a historic photo process called wet-plate collodion which allows me to create images on the surface of mirrors, composed of silver. The resulting ghost-like images are almost holographic, and seem to fade in and out as you interact with them. Between these wall installations is a suspended screen on which a video is projecting- this front projection shows video footage caught with the same type of wildlife camera used to capture the images of the coyotes. This footage is at night and mostly of the vacant landscape, the sound of insects, and a few glimpses of animal life. This same screen also has a back projection which simply looks like a glowing orb of light- however, the back projection is actually connected to a live-feed security camera hidden behind a curtain at the back of the gallery. The sound of howling coyotes is playing behind the curtain, so when viewers follow the sound and look behind the curtain, the are unknowingly being caught on the same camera as the coyotes, and their image is projected and seemingly superimposed onto the landscape footage.

We live in the desert. A place where the plants and animals, the very landscape and weather seem to reject human existence. And yet we prevail. We are here. We have taken over and made it ours. We are adaptable creatures. Scavengers, survivalists, opportunitsts. Vermin who cannot be eradicated. We are what we despise in other beings. We are coyotes.

For Anamorphosis, I wanted to explore the symbol of the coyote as a mirror image of ourselves. I chose to incorporate the use of the wildlife trail camera as a tool to question the power dynamics of one-way observation. What are we taking when we secretly capture an animal’s image in the wild? What happens when we reflect that image back at us? All of the work in this show is meant to merge, reverse and transform the roles of the human gaze and the animal other.