WAVES

SHADE

IN THE

02/04/2022

When a couple of innocent photography-lovers (from other mothers) met up for a little photo-walk in Vancouver, BC, nothing could prepare locals Douglas cho and Shah alamdar for what would morph into an urban-wide hunt for a creature disguising itself as a God. Yet the further they tried to focus, the closer they came to realize they were It's prey from the very beginning. So began their search for the way out, comparing shades, developed in darkroom tray waves, only to hang them in a cave that owes its allegory to something truly colossal…

Esoteric Cultures remind us that to truly know thyself, the journey is inward. Meanwhile Hustle Culture's appetite for growth, demands we be a “Cultural Chameleon” if we are to have any global relevance. To investigate which Culture is winning the war for supremacy , we hitch a ride with a neutral empirical culture; who archives images of a planet, whose vibrancy is forced to change on a daily bases. By what appears to be giant tentacles, home to communities of suckers that move to the beat of their own narrative. Come nightfall, it's mesmerizing shimmer owes it's chatoyancy to the ever increasing networks of pulsating arteries that know no sleep. Who is this creature trying to impress?

What is it trying to hide?

More importantly why?

This story truly began when these Purists naively zoomed in on something as complex as their civilizations dominant culture. The only hope in capturing this solitary, albeit slippery monster, came from the act of seeking counsel from it's enemy, banished to near exile... an ancestral culture.

Guided by African/Caribbean tradition of Sankofa, which cherishes the knowledge of one’s past, as one moves forward. Doug and Shah found themselves reducing their species phenomena to a totem of mythological proportions.

And So our heroes loaded their cameras with PART ONE's mantra: Dominant Culture is THE Kraken.

Throughout the episodes of this holy epic trilogy, Doug and Shah deploy their secret weapon of multiple exposure to harness the power of juxtaposition. Recruiting a sympathetic audience to also adapt to the newfound evolution in seeing “true colors” via the allegory of camouflage.

Only by exchanging film canisters in Part Two, the photographers can collude to sharpen the subjective boundaries of Culture, diving even deeper in search a garden that is nurtured by their ancestral Octopus. Answering once and for all, whether We are as much a Kraken, as Nature is Us? If Doug is as much his Cultures form, as Shah is his Cultures wasteland, then what will that mean for humanity when Their

KRAKENS collide?