In a contemporary context, modes of representation and consumption are largely interchangeable. Antje Peters appropriates a vocabulary of “commercial” styles as a means of questioning how an image is able to communicate a certain intent. But her subjects are purposefully decontextualized to reveal the values that might otherwise condition their use. Once unmoored, these supposedly familiar stylistic tropes begin to appear decidedly strange.
![“Instead of approaching these procedural steps as expected, my action might be more evident, or less correct. As opposed to painting, which is considered to be an accumulation of a set of decisions, photography is classically thought of as a picture made by a single decision […] For me, the state of the photograph is much more in the physical object and I tend to think about all of these steps as stages of production.”
- Focus Interview: Lucas Blalock](http://25.media.tumblr.com/e49f29e3b922f389824f5ab624e0f4c2/tumblr_mmraf3iF9O1rpfxxzo1_500.jpg)
“Instead of approaching these procedural steps as expected, my action might be more evident, or less correct. As opposed to painting, which is considered to be an accumulation of a set of decisions, photography is classically thought of as a picture made by a single decision […] For me, the state of the photograph is much more in the physical object and I tend to think about all of these steps as stages of production.”
“Much of my work deals in some way with the idea that nothing is fully knowable.”
