Everything I have done, not just in photography, is tied with three distinct universes.
The first is the sleazepunk world of neon grit and constant apocalypse seen in Future Fatigue and Geistmas. This is where most of my character work comes from and it is my way of exploring harsher issues through a satirical, exaggerated lens. Dealing heavily with, and in doing so sometimes falling prey to, my fears of the horribleness of the world, I have sort to acknowledge the ever expanding inequality of all facets of human society and the violence that it breeds. I'm not always successful, wallowing in filmic influence and muddied subject matter, but my heart's in it all the way. I want change, true positive change, and I feel that sometimes we need to be angry for that to happen. Not incoherent yelling angry, but something that makes us look at ourselves and the world. So I make ugly things and show those that survive them. Villians, Sleazoids, Murderers and those that dig themselves free of the sludge, the real survivors.
Anyway my photo work has heavily formed the timeline for this world:
1800s - The Grey Circus (mentioned in OVR)
1940s - Only Villains Remain (http://bryndc.com/only-villains-remain/)
1970s - Occultation (Giallo Influenced)
1990s - Geistmas (https://www.facebook.com/media/set/…)
1999 - Hobocalypse (mentioned in Geistmas & FF, a time shaped by massive wealth inequality)
2012 - Hell & Gasoline (Future Destruction Derby)
2045 - Future Fatigue (http://bryndc.com/future-fatigue/)
120,000s - Hellfire (Primal Future)
The second mythology is one of old gods, ritual sacrifices, and the restless dead. Existential, grim, but weirdly hopeful, my darker work of series like Communion and (the still unfinished) f/XIII are part of one coherent place. Here is my obsession with the peeling veneer of normality and the building power beneath, one that we ourselves have created through investing importance into the hidden things of this world. The gods are dragged from nothingness by our belief, our investment of thought and energy into an idea that grows into something tangible, and these beings are driven mad by their need to exist. Once made, the gods are psychic parasites that feed upon the human thought directed toward them, for without it they will slip back into the void. For the mortals of this world, even though there is no distinct afterlife, death is not final, as their echoes ripple out from the scars left behind long after they have passed away. I want to explore more ephemeral ideas of life, death and the purpose in-between and beyond.
The last ties my mythologies together: the Spire, a place of no gods. The Spire is something that exists in all realities, but is closest to us in places where the physical world has worn thin. This is my meta setting that not only ties my work together, but ties it to a place that exists in other literary work like the Eye of Sauron, the Dark Tower and R'Lyeh. A nexus point that our minds are drawn to, a crossroads for dreamers and the dead, it permeates the foundations of our own existence. It is the dark inspiration, the place most have never been yet recognise in moments of strange nostalgia and creeping paranoia. To access the spire, one must follow a path constructed from the forgotten words that are interwoven within the physical world. Through rites and rituals of the path, we tear down the reality around us, reconfiguring ourselves until the ethereal, the conceptual - the Spire- is more real to us than the corporal. This is my attempt to ground mysticism and magic in a raw, modern world.