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https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1791154748389-8CHK1LGMTTB6LL804LEY/BS_091126_0008+copy.jpg FIN - ongoing https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1791154748389-8CHK1LGMTTB6LL804LEY/BS_091126_0008+copy.jpg FIN - ongoing https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1791154798194-V6SNVAQ2TX65PHHVMY9A/BS_100426_0028+copy.jpg FIN - ongoing https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1791154748957-14CIS3KKCN18FW2CTIER/BS_100426_0046+copy.jpg FIN - ongoing https://www.brandonsawaya.com/mfa-sub daily 0.75 2026-10-26 https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792030861538-0CQ8TM9RYQT9ESLFR114/Ready_Aim_Fire_Complete.jpg MFA SUB - Ready Aim Fire Ready Aim Fire is an experiment about timing, and surprisingly a lesson about ‘crisis of the index.’ My partner and I each used Fuji Instax Wide cameras to photograph one another. Our goal was using 10 attempts at simultaneously documenting the other person making a picture while firing the camera flash. With tongue-in-cheek and a tip of the hat to the Western dual, we both said 'ready, aim, fire' in unison as we pointed our cameras at each other and made our picture. While failing at getting both our flashes to coincide exactly at the moment of our shutter release, the success came in discovering the last two attempts of my partner's flash erased the evidence of him holding his camera, leading to a completely new interpretation of the exercise. This humorous and playful approach has been influenced by the deadpan and playful experiments of Baldessari and Ruscha. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792030861538-0CQ8TM9RYQT9ESLFR114/Ready_Aim_Fire_Complete.jpg MFA SUB - Ready Aim Fire Ready Aim Fire is an experiment about timing, and surprisingly a lesson about ‘crisis of the index.’ My partner and I each used Fuji Instax Wide cameras to photograph one another. Our goal was using 10 attempts at simultaneously documenting the other person making a picture while firing the camera flash. With tongue-in-cheek and a tip of the hat to the Western dual, we both said 'ready, aim, fire' in unison as we pointed our cameras at each other and made our picture. While failing at getting both our flashes to coincide exactly at the moment of our shutter release, the success came in discovering the last two attempts of my partner's flash erased the evidence of him holding his camera, leading to a completely new interpretation of the exercise. This humorous and playful approach has been influenced by the deadpan and playful experiments of Baldessari and Ruscha. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792030861735-67NXLNYED6XJ581L7GGZ/Ready_Aim_Fire_Parrish_10.jpg MFA SUB - Ready Aim Fire (Parrish #10 Detail) Detail of the 10th attempt (from artist's camera) to document a simultaneous camera flash, showing an illusory ‘hole’ shot through the less fortunate camera slinger. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792030753527-P7MTVYB6ZMTBA7UV0G4R/Grace+copy.jpg MFA SUB - GRACE Grace is a consideration of the materiality of the Image, the surface of a photograph, and in this case, a kitsch print of a staged portrait of a man praying over his bowl of soup, bread, and presumably his bible. This image was often hung above a dining room table or in a kitchen of all of my family's and extended family's homes. It serves as a touch-point for a highly personal project that wrestles and comes to terms with nostalgia, relationships, acceptance, alienation and longing. Larry Sultan’s ‘Pictures of Home’ are an obvious influence as his body of work blows the doors wide open for investigations into one’s family, the family album, and the memory of the image vs the memory of the event itself. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792030860354-NR7F4F673BCZ36L0SH9C/Disney_Rephotographed.jpg MFA SUB - Disney Rephotographed Disney Rephotographed are single digital still images of old 'Steamboat Willie' era short animations. These were rephotographed at Disneyland in a viewing room where a small selection of animations were projected and looped for visitors. Appropriating these animations from a lengthy duration to a still frame references Sugimoto’s ‘Theatres’ work. However the slow film-rate allowed for a noodling with original narrative; the long exposure photograph suggests a reinterpretation of the messaging from these old-timey cartoons, turning sweet Mickey into a maniacal mouse. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1791154748389-8CHK1LGMTTB6LL804LEY/FIN.jpg MFA SUB - FIN FIN is a somewhat Duchampian exercise where I find processes (either natural or human) that are in progress or have actuated. I intervene through reduction and find ways to interrupt or finish by imparting the word 'FIN' somewhere in the process. FIN is often used at the end of cinema to complete the narrative just seen, finalizing the story. But is the process certainly finished. I am partially inspired by John Pfahl’s works where he manipulates space and perspective in the staging of his environmental images. This piece is on-going. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792961706691-JCEXAPK0F0OWQT5W0I8U/Survey_Says.jpg MFA SUB - Survey Says I recently had a boundary survey completed on the house that my spouse and I own. We were surprised to learn that our property on the south side is 4 feet wider than where our neighbors fence is built. This created some interesting feelings and thoughts about the idea of ownership, entitlement, and how we go about understanding boundaries. I decided to canvas my neighborhood and do a photographic survey of my own, to see how other people dealt with these slippery imaginary lines, desiring to use the image as witness. My approach to this project is rooted in David Campany’s take on photographs: “While a photograph always has a vantage point, a photographer need not have a point of view.” I feel this is indicative of my approach to this photographic survey, with a nod to Lewis Baltz, Joe Deal, the Bechers and other New Topographics artists. I take my vantage from a dead-pan straightforward distance, centering myself where I believed the boundary lines to be, but really I have no clear certainty where ‘boundary’ is written in the image. Totaling around 60 photographs, this series was taken in the alleys of my gridded neighborhood, which also function as liminal spaces. It was interesting to see ways neighbors held boundary lines that allow for interpretation or understanding, and to discover that boundaries have so much in common with photographs. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792030859193-XV5TQL93LRC030V4Y8Y9/BS_042623_0002.jpg MFA SUB - Moss Covered Fallen Cherry In Debrah Bright’s essay ‘Of Mother Nature and Marlboro Men’ she brings up the question of what ideologies landscapes perpetuate. Something I read in Don Dilillo’s book ‘White Noise’ gave me the answer through the sting of satire in this description of the main character observing THE MOST PHOTOGRAPHED BARN IN AMERICA: “All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides - pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers… “No one sees the barn” {Murray} said finally. A long silence followed. “Once you’ve seen the signs about the barn, it becomes impossible to see the barn… We’re not here to capture an image, we’re here to maintain one… They are taking pictures of taking pictures.” I spent over two years returning to a location I pass on my daily walks to rephotograph and document a tree that, one day, struck me as special. I photographed in the vein of the New Topographics, without horizon to avoid traditional sentiments about landscape, which allowed an unsentimental approach to reveal something new about a sight with which I became so familiar. By documenting it multiple times, I experienced de-familiarization or ostranenie, and came to appreciate the tree for a marker of time and meaning. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792030858608-LIWAT5M7HNVTM0VBCC6I/BS_04282026_0003.jpg MFA SUB - Moss Covered Fallen Cherry (Gallery Install Documentation) Documentation of gallery install of 4 prints from the 7-part series of Moss Covered Fallen Cherry during the Western Washington University Biannual Faculty Show at the Western Gallery. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792031034011-8EGC0YWBCPSF1RACAG6Q/Match_Burn_copy.jpg MFA SUB - Match Burn When I made these images, I was reading Steinbeck’s ‘East of Eden’ and I collected a quote from his book that worked its way into my thoughts: “No one who is young will ever be old.” Match Burn is a small series of sandwiched photographs of an experiment I did with my daughters. I wanted to see how long we could hold a lit match before it either burned itself out, or became too hot for us to hold. For me, the series addresses light as a temporal idea and an impression, as well a metaphor for trying to hold on to something as ephemeral as childhood. It isn’t like-for-like, but I am reminded of Duane Michals’ series Death Comes to An Old Lady, and The Spirit Leaves The Body when I look at these images. https://images.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/1792030985780-BCMHZU9ZFFM2NUAPM9PR/BS_18aNeg_04022024_copy.jpg MFA SUB - Match Burn (Detail of Remnants) Match Burn (Detail of Remnants) is a documentation of the artifacts of the Match Burn experiment. Each match’s burn length was timed and documented to accompany this series, further exploring the temporal aspects of the experiment and the evidence left. https://www.brandonsawaya.com/contact daily 0.75 2026-05-13 https://www.brandonsawaya.com/read-me-1 daily 0.75 2018-01-02 https://www.brandonsawaya.com/home daily 1.0 2026-09-11 https://video.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/940a88f9-56bb-4076-9102-1086bd78bd36/playlist.m3u8 https://video.squarespace-cdn.com/content/v1/5a3c101bb7411cd1f2c2bd9e/940a88f9-56bb-4076-9102-1086bd78bd36/thumbnail / / / / / / / / / /