Flick's Sequential Views combines the characteristic photographic trends of the 1970s. Relying on the verisimilitude of the gelatin silver print, Flick creates a formal repetitious structure that is paradoxical to what the images appear to conceptually divulge. His continuum of views, merging into one, challenges presumptions about photographic process, space, and time. By shifting location, extending or negating forms through perspective, or using different focal length lenses, Flick disrupts the borders between indexical documentary practice that offers a cataloging of subjects and artistic interpretation. Besides questioning the physical makeup of any place and the notion of the single photograph, these views provide alternative explanations to the difference(s) between appearance and reality.
