Range 220
Range 220 is a place where one can lose it’s self in a practice of combat. A place that resembles nothing completely real nor fictional.
A stage manufactured by the US Government to help train our military. Composed with more than 1500 buildings, a mosque, cemeteries with no context, burned down cars, middle eastern posters and banners on sides of buildings and market stalls with plastic fruits. All of these decorations are attempts to illustrate a broken down middle eastern town and really only leaving a complete impression of falsehood. But this place is far more than bad visual fundamentals. This place is not a real place with any true consequences for your actions. This is merely a massive playground for our military. An ongoing opera with small plays sprinkled over this playing field. Observed from cameras placed all across this stage so the rehearsal is shaped and rehearsed over and over again for that next insurgent in the middle east. The US was one of the first to create urban warfare ficities to train the military for effective combat and now many countries have fallen suit with the help of the United States for their own specific military efforts and future concerns.
Range 220 because it crosses a line of deception. I’m focused on exploring those complexities on what is real and what seems like a fantasy world. This place takes itself very seriously but I don’t see it that way.
Gravity
Flip if
u wish
*Images copyright - Noel Spirandelli
Patterns of Erosion
'Patterns of Erosion' studies time, transformation, and transience—both in the natural world and personal experience. This project began in the wake of profound loss, following the passing of my father and cousin in 2021. Grief reshaped my perspective, much like wind and water reshape the land, leading me to examine how time erodes and redefines everything I know.
Erosion is not just a physical process but a slow, relentless force that shapes landscapes and memory. Revisiting these places became a way of reconnecting with my past, where the shifting terrain mirrored the shifting nature of remembrance. Returning was more than observation—it was a spiritual act, a quiet communion with the land and the evolving presence of loss.
I photograph with an 8x10 film camera, a process that demands patience and precision. Composing each frame requires me to slow down and notice subtle shifts in light, wind, and texture—changes that often go unnoticed. The inversion of these images reflects recurring dreams I had during my grief, where familiar places appeared transformed. This work extends those visions, turning altered landscapes into something tangible.
'Patterns of Erosion' reflect this slow process—how time leaves its mark, how absence creates form. These images capture the earth's transformation and my own, revealing how grief and time intertwine to create something new. Tracing these changes, I find a quiet acceptance of what has passed, what remains, and what is still to come.
*images copyright - Noel Spirandelli
