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In 2015, a flood of contaminated water used to fight a fire at Indiana’s Warsaw Chemical Company spilled into nearby Winona Lake. Carrying a flood of commercial car wash dyes, the spill washed downhill from the plant, melting the February ice at the lake’s surface and leaving limp silhouettes of bluegill floating in water stained a deep blue.

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This unnamed body of work was made when I was living my life or walking the streets and happen to have my camera and flash with me. The images I found were neither expected nor guaranteed. During warm months, my camera is on me 90% of the time – I’m never sure where the next image could come from and some of the most mundane subjects are my best images.

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The images in Based on a False Story are a wonderful mix of beautiful double-exposed portraits of old friends and new, juxtaposed landscapes, and tactile images of balanced geometric shapes and forms. The images draw in the viewer and evoke a sense of recalling past places and people affected by the passage of time. ‘False Story’ is Brydon’s second book published through Another Place Press this year, and rounds out a full year of marvelous publications from this small-but-mighty publisher.

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This collection of images comes from a series based around relationships, drawing from my own recent experiences. It’s a project where I’ve concentrated on trying to reflect the conflicting emotions through the aesthetic, through unusual combinations and contrasting shapes. I am a common topic for me, I make my work about what I’m thinking about, and at this point I’m thinking a lot about myself – it’s therapeutic, I suppose.

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I willingly misinterpret, follow alternative paths and pursue false leads.

I love reading outmoded and discredited scientific theories — or about unusual belief-systems and secret societies. They illustrate the role our imaginations play in shaping our apprehension of the world. I try to instigate such misunderstandings, bringing seemingly disparate ideas together into new configurations to give rise to other possibilities.

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The Faroe Islands are a jigsaw-shaped archipelago that stands alone in the middle of the North Atlantic, halfway between Norway and Iceland. I traveled to the Faroes twice in 2015, staying with people I met along the way, photographing them, their families and their homes and listening to their stories.

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The Gold Coast book is uniquely my story. It is autobiographical and it is also a social critique. Through the book, I question the way we perceive safety and danger and challenge our visual associations of the two opposite sides to the same coin. How difficult is it to believe that everything we know to be corrupt can take the form of everything we’ve been trained to value?

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