Thomas Barrow’s photographs challenge the physical limits of the medium through experimental interventions. Beginning in the 1960s, he developed methods that disrupted photographic convention, most notably in the series Cancellations, in which landscapes and interiors are marked by abrasions, punctures, and incised X forms made directly into the negative. Focused largely on the American Southwest, these works use material disruption to engage composition, place, and perception, expanding photography into an object based practice.
