In 1963, artist Josef Albers published a work titled Interaction of Color which presented his theory that colors were governed by an internal and deceptive logic. Albers adopted what he believed to be this logic in his own work, dominated by bold colors and basic, overlapping geometric shapes, distanced at highly precise and calculated spatial proportions to one another.

Symetry, 2010 by Kyoshi Becker Mckizzie

Contender Kyoshi Becker McKizzie creates a stark, ordered environment by identifying this "internal and deceptive logic" in his external and urban surroundings. He photographs the clean facades of buildings at points of intersection and organized disruption—where doors hinge upon walls, where windows are carved into storefronts, where street signs silhouette against a building. Colored blocks, lines and shapes emerge, rendering images that are abstract about buildings that he makes anonymous. McKizzie erases the most obvious identifying factors of a building (address and signage), instead using the manmade lines of paint and fixtures to dictate the geometry of his works.

Vibrant Outside, 2010 by Kyoshi Becker Mckizzie

His bold colors and perfect right-angles remind me of the Polaroid photography of Grant Hamilton, whose "about" page reads that he is "striving to find beauty in the mundane." He approaches everyday surfaces (walls, the ground, signage, textiles) aware of how he can erase the object-ness of what he's photographing by reducing it to stripes, rings, diamonds and squares. The process flattens the intersecting surfaces into a single square plane, erasing depth and shadows, and inviting the viewer in to solve a continuing puzzle of "what is< that?" We continue to believe that what we see in the frame is a part of something else, rather than becoming something on its own, and are perhaps the best version of a viewer when we submit to the borders of these photographers' worlds being at the edge of their viewfinders.

Neopolitan No. 3 by Grant Hamilton

McKizzie also uses color and clean lines as a way to toy with scale, and to present a series of "urban" photos without the most obvious of city-like features. To see more work by Kyoshi, visit his website.