A Year of Wandering in Unique Light, on Medium Format Film
Hyper realistic plant portraits, surreal landscapes, and intimate encounters draw a visual line through time and place
Brendan George Ko
Brendan George Ko
Mamiya 6, Mamiya 7, Mamiya RZ67
Kodak Portra 160, Fuji Neopan 100
Brendan George Ko is an interdisciplinary artist living between Maui, Hawai’i and Toronto, Canada and working primarily in photography, video, sound, installation, and oral tradition
My mother was the family documentarian. My sisters and I would wait with the sun blaring into our eyes while she took her time getting all the settings right on her Nikon FM. There were trips to the Florida Keys and to the Petrified Forest. Countless visits to the Grand Canyon, the Very Large Array observatory in southern New Mexico, and San Diego. And up the California 1.
After a year, or even just a long road trip, she would disappear into her office to work on her typewriter, sometimes venting frustrations when she had to wite-out a typo. As a child I was too busy running around wild to see the true value in what she was creating—her scrapbooks. Years later as an adult I would revisit those numerous scrapbooks she made, and like a flash my childhood would come back to me, with all of its minute detail, the warmth and that wander.
Those scrapbooks are the closest thing I have to a time machine, and with my own scrapbook project (now six years strong) I want to carry on the family tradition. With each year I make a new scrapbook representing the encounters I have with both humans and regions of land. Here’s my visual poem for 2019.
Locations may include: Duncan's Cove, Georgian Bay, The Great Slave Lake, Hale'iwa, Joshua Tree, Lake Rosseau, Lake Welch, Leslie Spit, Los Angeles, Mai Poina, Mākena, Oak Island, Pāhoa, Polipoli, Pukalani, Pu'unēnē, Port Renfrew, Pupukea, Toronto Island, Vancouver, Victoria, Waihe'e, Wailuku, Wander Valley