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.

I am interested in a kind of ‘entropic’ image”an image that has the capacity to de-familiarize itself. My current work is an attempt to unravel the photograph and play with established notions of time and space, notwithstanding our understanding of what gives things context. Through fragmentation and re-composition of the photographic space, the non-linear nature of reading the image is folded in on itself. The structure of the photograph is unwound and reshuffled. This reshaping is an iterative process that spurs a generation of something altogether different; something ineffable.