In Palettes 2, shipping palettes are photographed from a train platform, creating a symmetry between the body of the photographer and the subject being photographed; each an object in transit, each subject to the flow of economic streams. The image speaks not so much of urban infrastructure, but of the latent physical processes of economic exchange. The porous building-like forms also bring to mind the many half-finished buildings of Beirut – relics of a building boom that was frozen by war – reminding us that a moment of flux can take on a sense of permanence only if the economic flow that powers it stalls.
In Palettes 2, shipping palettes are photographed from a train platform, creating a symmetry between the body of the photographer and the subject being photographed; each an object in transit, each subject to the flow of economic streams. The image speaks not so much of urban infrastructure, but of the latent physical processes of economic exchange. The porous building-like forms also bring to mind the many half-finished buildings of Beirut – relics of a building boom that was frozen by war – reminding us that a moment of flux can take on a sense of permanence only if the economic flow that powers it stalls.