Folded

The works from the Folded project were taken on a 487-day journey from the North Pole to Antarctica - an excursion that Jeppesen undertook alone. The journey was primarily taken by bicycle, carrying a large format analog camera, and most often cycling by day and shooting by night. The resulting images blur the line between reality and fiction. Adam’s strong take on processing and presentation places these works between photography and sculpture. Printed on Japanese rice paper he folds the works and thus creates squares that enhance the idea of the fictitious quality of the work, despite its very real origins. The raised ridges push Jeppesen’s work into the realm of sculpture, and as such, they offer the viewer a new way to interact with the artwork.

The Folded project emerged as a way for Jeppesen to grapple with the impermanence of experience and the instability of memory. After completing his journey, he resisted the traditional presentation of photographs as pristine windows onto the world. Instead, by physically folding the images, he introduced fragility, tactility, and imperfection into their surfaces - echoing the erosion, wear, and distortion that naturally occur both in landscapes and in memory itself. The creases can be read as scars of the voyage, permanently embedded in the paper just as the journey left its imprint on him.

The choice of rice paper heightens this sense of vulnerability and temporality: thin, porous, and easily marked, the medium resists durability and permanence. In doing so, Jeppesen shifts attention away from photography’s role as a static, factual record and towards its potential as a mutable, sculptural, and experiential form. Folded is thus not only a documentation of a remarkable physical expedition but also a meditation on transformation, fragility, and the limits of representation.