I have been following Cyrus’s work for a couple of years, after first seeing it in Critical Mass, then having the opportunity to meet him at Review Santa Fe. His work is somewhat dark, ominous and hard to read. Which is why I am a fan. My mother the mystery writer says there is trouble lurking around each corner. His figures are shapeshifters, shadows in a landscape. I like work I can come back to over and over and find something new, attach a new story to.
This series explores how meaning is assumed and altered through fragmentation
History informs the present and future; however, new experiences continuously
alter our recollection and interpretation of past events. This body of work mimics
the continuous breakdown and reassembly that occurs as we navigate our daily
experience, in order to illustrate the liquid nature of memory.
Anytime an event or experience is recalled, it is reassembled from fragments
dispersed throughout the brain, and differs slightly from every other time it was
summoned. As our lives progress, not only is our perception of the future
altered, but also that of the past. This seems to cast doubt on the veracity of
what we believe and how we view others and ourselves. If past experience relies
upon, and consequently conforms to what has yet to occur, then there is little that
can be known about who we really are, what we want, and where we are headed.
35mm photographic film and comparably sized inkjet transparencies are
dissected and used to construct small installations. These images are
photographed digitally and printed as archival pigment prints.
The scenes that emerge from this process encourage the seamless and
spontaneous migration between the real and the imaginary, the authentic
and the artificial, the explicit and implicit.