Patrick Walsh approaches his work as a painter might. The camera is the paintbrush and the photographs are the brushstrokes of his photomosaics: large-scale ruminations on people, places, and things that he filters through the camera lens, then pieces together. The end results – flattened out images that show us what we only perceive in our peripheral vision – are rendered much deeper and broader than the sum of their original parts. Walsh states: “I want you to think you can step into that picture to feel you’re there.”
