Each image suggests a different aspect of an ancient rock-cut temple in Sri Lanka; and together the series intends to evoke the site as studied, experienced, and, finally, remembered. The circular format, a kind of lens or peephole through which we glimpse the place, derivesfrom early Buddhist motifs representing the endless cycle from which we strive to attain release. In its reliance on this model, the piece reflects the beliefs that guided the original design of the temple. Each photographic tondo contains a likeness of the temple facade; and each offers a discrete description that co-exists with and amplifies the others. I have excavated Isurumuniya, searching for the fundamental meaning of the place, sifting through layers of information drawn from early documents and nineteenth century travel photographs, and then re-set this transhistorical reconfiguration into its contemporary landscape — the way I saw it.
A selection from a larger series.