OBLIVION1n_MAISEL
OBLIVION2n_MAISEL
OBLIVION3n_MAISEL
OBLIVION4n_MAISEL
OBLIVION5n_MAISEL
OBLIVION6n_MAISEL
OBLIVION7n_MAISEL
OBLIVION8n_MAISEL-dip
OBLIVION10n_MAISEL
OBLIVION11n_MAISEL
OBLIVION12n_MAISEL
OBLIVION13n_MAISEL
OBLIVION14n_MAISEL
OBLIVION15n_MAISEL
OBLIVION16n_MAISEL
OBLIVION19n_MAISEL
OBLIVION21n_MAISEL

Oblivion 1N, 2004

Oblivion 2N, 2004

Oblivion 3N, 2004

Oblivion 4N, 2004

Oblivion 5N, 2004

Oblivion 6N, 2004

Oblivion 7N, 2004

Oblivion 8N/9N, 2004

Oblivion 10N, 2004

Oblivion 11N, 2004

Oblivion 12N, 2004

Oblivion 13N, 2004

Oblivion 14N, 2004

Oblivion 15N, 2004

Oblivion 16N, 2004

Oblivion 19N, 2004

Oblivion 21N, 2004

In his book Warped Space, the architectural theorist Anthony Vidler speaks of the “paranoiac space of modernism,” a space which is “mutated into a realm of panic, where all limits and boundaries become blurred…” These words come to mind when considering the urban aerial images of Los Angeles and its periphery shown in Oblivion. Certain spatial fears seem endemic to the modern metropolis, and Los Angeles defines this term in ways that no other American city can approximate. This amorphous skein of strip malls and gated developments, highway entrance and exit ramps, continues endlessly, without boundary or hierarchy.

The images in Oblivion underscore the cyborg nature of the city. Themes of development as a self-generating, self-replicating force that exists outside of nature are encoded in these photographs, which view Los Angeles as both a specific site and as a more generalized condition. The inversion of tonalities in these works is a simple act that de-familiarizes the images. It also references other ways of imaging- like the x-ray, which sees within the structure of an organism or body — or other modes of seeing — like the flickering negative images in an atomic blast, when the shadow world is revealed and released.

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