Unbreaking Symmetry uses perfect reflectional symmetry on a Cartesian plane to reveal the formal order within the broken symmetries of nature, to reveal perfect symmetry and fundamental geometry as the underlying bases for the continued creation of infinite individuality, or the process of breaking symmetry, in nature.

Expanding on the concept of reflection photographically, as light revealing dimension, each quadrant becomes a reflection of itself on either axis - this twofold doubling folds forms in nature on themselves through the hyperplanes between axes and then unfolds them on a single plane in two axes, a form of uncollapsing extra dimensional possibilities of form, perception and seeing.

Unbreaking Symmetry examines the idea that there is hidden order within seeming disorder. The tropical landscape in particular seems visually and formally chaotic or complex but viewing it through the lens of reflection reveals hidden and inherent pure geometries.

Mirroring and reflection being intrinsically about the relationship of things and properties one to another, both visually and existentially, this method of multi-mirroring is an expansion of the basic principles of seeing and the reciprocal relation of things one to another. The mirroring does not create the order but uses a fundamental principle of order in nature to reorganize the complexity in a way which reveals the patterns or order already existing within seeming disorder or complexity. All the formulas for perfect circles, squares, triangles, are already present; Unbreaking Symmetry simply reveals them visually.

The color version of this series, because the colors are not true to nature and are modified from the documentary component that defines the photographic medium, they are read less immediately as photographs and more like illustrations. But an illustration can never document an actual moment by drawing with the light itself from that moment, nor likely draw in the way only nature can, leaves perforated by the appetites of small creatures, wisps of pine needles, tiny irregularities and imperfections in such abundance. So this illustrative distortion allows the pure forms to emerge unconfined or limited by what without them would be an immediate documentary reading. The beauty of these combined irregularities, individuated coming together to reveal that each individuated form contains an aspect of pure geometry is a more surprising revelation. Akin to the fourth wall, the suspension of your disbelief (or one could argue, in photography’s case, “belief”) allows for belief in this enhanced documentation of natural forms and its revelation of pure geometry.