My series, California Motel, 18/3/2011, explores architecture in a state ofpurgatory. The location originally functioned as a motel but closed its doorsin 2008 and has since stood empty, bar a few of the accoutrement of motelliving; bibles, bed frames, mirrors and microwaves. This space has sinceevolved into a Mecca or sorts for Melbourne’s underground art scene: a rite ofpassage for the street artist. It is a space whose existence seeks destructionand denies itself. Disengaged from its original purpose, the space hasorganically developed into something other than itself. Like a carcassdecomposes and gives sustenance to new life so too has the California Moteltransformed. It is the demise of social architecture; almost becoming theanti-social architecture. The series of four photographs are face mounted onPerspex to achieve the same luminosity to the images that Thomas Ruff andAndreas Gursky achieve. Each print is 30 x 20 cms. 

Throughout my shooting processes I attemptedto imitate the calculated, objective view, pioneered by the Bechers. Using thisstyle of photography, I aim to instil the images with a definitive look, togive the locations I photograph a quality of supreme existence, to make themseem more real than real, like so many artists from the German School achievein their work. The series I have created individually explore the power of thelook and looking. I use strong compositional elements to create an assertion oftheir subjects own existence.