Just about
across the board, whenever I show somebody [this] series of
photographs,
they respond to them with very human emotions. I didn’t
really mean to
shoot them to say, ‘Hey look—this looks like a pile of dead bodies’ or
something, but they come across that way and people really connect with them.
I like people to feel strong emotions towards something besides human beings—to
have real human emotions, like sadness or sympathy or empathy for hollow Christmas
trees.
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It’s
kind of surprising how many trees are always there. These trees
were farmed and resources had been put into them—not only
for them to sit, dry out and die in someone’s house, but
the leftovers… there’s just so many. It’s so
wasteful. Like flea markets where they sell screwdrivers and
there’s 500 in a pile and every single one of them is perfectly
functional and in working order. But the flea market is basically
the next stop before the dump, before the landfill. So it’s
not really a direct protest of having Christmas trees, but just
a way to look at a very blatant symbol of our excesses and the
allocation of our resources.
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