Sirinsky’s series Connatural muses on form at the cusp of formation. Colors draw close enough to commune with one another. But, in the end, each saturated dot protects its own sovereignty, its own unique disposition. From that kind of literal re-collection, only impressions are possible. Hence the hazy serenity of Georges Seurat and Claude Monet. In photography, that tradition filters through the brothers Lumière, whose autochromes anticipate the impressionistic spectra in Sirinsky’s work.
Captured in each of Sirinsky’s photographs is the pollen-like residue of a day, connatural with the mind’s eye, which is only to say, connatural with what our real eyes are always trying to see.