Jakob De Boer Canadian, b. 1974
Pre-Myth, Where Ravens Cry, 2016
5 Toned and mounted gelatin silver prints
23 x 113.25 in. framed
Edition #2/3 + 1AP
Further images
In many ways, Where Ravens Cry was about going back in time - back into my earliest childhood memories of the Pacific Northwest, but also into the origins of the mythology of this place. I have always wanted to stand in places where myths were birthed. Being there, one is reminded that beginnings are defined by time. By combining 'photographed' elements through juxtaposition, a kind of duality between the ‘real' and the ‘created' - meaning time - was birthed. The Pre-Myth represents the whole of the work as all things were born out of it. In working on it, the sculptural nature of the Pre-Myth piece shifted my photographic thought process. When I crossed over the invisible barrier of "yes I can put these images together", my photographic process changed. - Jakob de Boer
In many ways, Where Ravens Cry was about going back in time - back into my earliest childhood memories of the Pacific Northwest, but also into the origins of the mythology of this place. I have always wanted to stand in places where myths were birthed. Being there, one is reminded that beginnings are defined by time. By combining 'photographed' elements through juxtaposition, a kind of duality between the ‘real' and the ‘created' - meaning time - was birthed. The Pre-Myth represents the whole of the work as all things were born out of it. In working on it, the sculptural nature of the Pre-Myth piece shifted my photographic thought process. When I crossed over the invisible barrier of "yes I can put these images together", my photographic process changed. - Jakob de Boer
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