The sky is an ever-present element of our world, yet it is in many ways physically intangible—it is so distant and never reveals to us its physical traits or surface (if it indeed has one). We tend to only understand it visually. Through the juxtaposition of the sky with a tangible man-made surface I am drawing attention to the depth between planes, but also to how one visualizes space in a photograph. Through visual differences, both in the sky and on the surface of the man-made object, perspective begins to become more ambiguous. there is a play between finite and infinite depth (near and far) that occurs because of the way in which the sky has been framed. Thus, the plane of the sky often appears as if it is a physical surface that is in various positions of depth in relation to the man-made frame. In these images, the sky is no longer simply a background, but an active field of visual experience—it is exactly there*. This is due, in part, to the function of the photograph as a two-dimensional object, but also to the way in which the sky has been juxtaposed with a structure that has an actual surface. The infinite depth of the sky has been deconstructed and relegated to a flat plane, referencing the surface plane of the photograph. Visually, the viewer can now begin to access the sky as a surface, and the changes that take place as if they are happening on a surface, not necessarily in space.

*Georges Didi-Huberman, "The Fable of the Place," in James Turrell: The Other Horizon, ed. Peter Noever (Astfildern-ruit, Germany: Cantz Verlag, 1999), 51.