Brooklyn artist Jimi Billingsley’s new work involves the re-contextualization of window graffiti on the elevated train lines of Brooklyn. Photographing through scratched and marked subway windows, he captures the urban landscape. The viewer sees two simultaneous planes. They meld and synchronize, becoming a complex singularity.

Billingsley’s compositions evoke a range of references and ideas that begin with a fascination with the creative impulse itself (language, authorship), and expand out into his vision of the landscape, and architecture’s definitive relationship to culture and consciousness. He remarks that in the Transit Glyphs series he was from the start acutely aware of the historic tensions between photography and painting, striving to explore the relationship between the flat surface and the perspectival depth.