ABSTRACT
For photographers as investigators, the critical challenge is finding strategies for implying or revealing more than that which is immediately observable; the photographer explores sites, histories, and circumstances, seeking ways of seeing differently. For Columbian-born Oscar Palacio, photography feeds into his explorations of belonging neither in the US or in his home country. Trained in architecture, he explores man-made constructs taking the often over-looked – a door, a chink in a wall, a tree stump – as anchor points for formal compositions that stand metonymically for aspects of American life, aiming to draw audiences into complex responses and reflections, suggesting that things, objects with histories, should not be taken at face value.
