Showcase Portfolio: Louis Stopforth

Louis Stopforth

Strangers (2018) is a social documentary looking at street skateboarding sub-culture. The presentation of this work as a low quality newsprint zine formed a tactile and sensory viewing experience which reflected the rawness of the subject matter. Utilising the poor quality of a 35mm point and shoot camera, resulting in grainy images which highlight the rough terrain and movements of those recorded. This combination of imagery and material presentation created a visceral and dynamic series of images that ‘interact with one another and form an eye-catching, compelling picture story’ (Kobré, 1996, P.132). Alongside documenting the act of street skateboarding in an environment un-suited to it, the zine interspersed the zine with portraits of those that were part of the sub-culture during this period. Inspired by Larry Clark’s Tulsa (1971) I worked on this project as an insider, presenting the perspective not of an observer but a participant. ‘I wanted the audience to be eavesdropping on a world they had no chance to enter’ (Clark, 2015). It was this insiders perspective that allowed me to honestly and accurately depict a group otherwise not understood for its creativity and innovation in regards to their environment.

  • Louis Stopforth (2019) from Concept of Space

 

‘everything takes form, even infinity’ (Bachelard, 1964, P.212).

Concept of Space (2019) is a photographic investigation of space, in a metaphysical sense, and the relationship between this intangibility of subject and the representational nature of photography. The medium of photography is limited in the sense that something must physically exist before the camera in order to create a readable and representational photographic trace; photography deals ‘with the actual’ (Szarkowski, 2007, p.8). Exploring the abstraction of the photographic image itself I present minute extracts of photographs which exhibited variations in colour, shadow and form, and thus suggestive of depth and dimension. This is an abstract interpretation of a ‘non-subject’ yet derivative of imagery that showed clear and descript spaces such as rooms and corridors. As singular images one section of this project was titled monoliths, and the other, layers. The latter section is comprised of multiple singular abstractions overlaying one another and was developed as an ode to cubism and the belief in merging perspectives to better represent the three dimensional when challenged by the confines of a two dimensional medium. This issue is a discussion which goes beyond this project and speaks for all photography presented in its typical flat surfaced, depictional form.

Both sections of Concept of Space are printed onto transparent acetate, a material comparable to that of photographic film. However it was the tactility of this material and its transparent attributes that drew me to work with it. The transparency of the acetate means that the viewer can simultaneously experience their surroundings as well as the image, eliminating the simple act of looking at a print that discusses an idea but doesn’t physically interact with it. The works can be experienced both as an image and as an object in themselves; they are ‘both images and physical objects that exist in time and space’ (Edwards and Hart, 2004, P.1).

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The Materiality of Wolfgang Tillmans and Marlo Pascual

by Louis Stopforth (9th december 2019)

In Camera Lucida, Roland Barthes proposes that ‘the Photograph is flat’ (Barthes. 1993. p.106). However photographic materiality has come into question by artists, curators, and critics alike after much deliberation in regards to the medium, procuring that the photograph no longer was to be read as ‘flat’ but that it had a tangibility to it that could be felt and experienced. This exploration of the medium refuted that a photograph was merely an invisible vessel for information, but rather it could be an object of interest in its own right as well as having its materiality contribute to its place as a descriptor.

Figure 1: Photography into Sculpture Exhibition (1970) MoMA

 

The Photography into Sculpture held at MoMA in 1970 (Fig.1) was a seminal exhibition in allowing artists and photographers alike to begin the exploration of photographic materiality as the focal point of their work, superseading depiction. Peter Bunnell, the curator of this exhibition, one year previously wrote a short essay ‘in which he identified a body of work ‘calling attention to the photographic artifact’ (Batchen. 2002. p.110).

 

 

The importance of this exhibition was how ‘the primacy of the image was traded for the primacy of the object, where each work was not ‘’a picture of, but an object about something”’ (Statzer. 2014).

Since then numerous artists, works, exhibitions and essays have focused on the physicality of the photograph, and to more experimental and conceptually charged extents. Two artists I explore here are Marlo Pascual and Wolfgang Tillmans, who have both produced works discussing the materiality of photography but in quite dissimilar ways.

Figure 2. Marlo Pascual (2010) Untitled. Two C-print, photographs, mounted on plexiglass.

Marlo Pascual (b.1972) and her distorted, ruptured, torn, and intervened with photographs (Fig. 2) instantly defies unawareness to the photographs material presence; ‘the photographs two dimensionality is revealed as a fiction’ (Batchen. 2002. P.110). The recognition of photographic materiality is one that does not effortlessly come to our attention, like other art forms, hence Pascual’s contentious alteration of the photograph.

She states ‘I want it to be physically imposing’ (Pascual, 2012). Pascual’s work discusses materiality in the most extreme of ways, aggressively intervening with the photographic object.
Figure 3. Wolfgang Tillmans (2007.) Lighter 46. C-print photograph, in artist’s frame.

Wolfgang Tillmans (Fig. 3) on the other hand is an example of how photographic work can deal with materiality in both a physical way as well as a photographically representational way (a photograph in its ‘institutionalized’ sense). In contrast to Marlo Pascual, Tillmans work in regards to materiality speaks more intrinsically to photography itself as it does not use exterior materials to itself. For this to be appreciated one must observe two projects simultaneously: Lighter and paper drop.

Figure 4: Wolfgang Tillmans (2006) Lighter III. C-print, photograph, in artist’s fram

Tilllmans’ exhibiting of Lighter (2005 to present) consists of an ongoing series of prints that have been folded and bent, protruding into space (Fig. 4). They speak universally of both photographic process and photographic materiality due to there being no personal vision in the trace ‘image’ of the work. If there were clearly recognizable depictions on the surface of the image it would become misconstrued and associated with something rather than the photographic self. Instead the abstract coloring we are presented with is a comment on the process of making a photograph (the colours being the effects of variations in the conditions of light in the darkroom on the photographic paper). Whereas the folding and bending of the paper talks about all photographs material nature. ‘Lighter invite(s) us to think of photography not in terms of an image, but structurally’ (Eichler. 2015. P.11).

Alongside his more dimensional pieces, however, Tillmans uses photography in its more traditional sense of depictional representation (Fig. 5) as a way of personally investigating the broader notion of all things being dimensional.

Figure 5. Wolfgang Tillmans (1991) Still Life Talbot Road. C-print photograph

With his paper drop (Fig. 6) prints he uses photography typically how it is expected; creating a visible and recognisable trace of a moment. Despite this, these prints discuss materiality much the same as the Lighter works as when they are displayed alongside each other, and when we view the flat surfaced paper drop photographs the same as we would any other photograph, we observe that what is depicted is a physical photograph ‘folded back on itself forming a reclining tear-drop shape’ (Eichler. 2015. p.11).

The result of this is that Tillmans produces a ‘study of photography looking at itself’ (Eichler. 2015. p.11); displaying its physicality without manifesting itself into something with more form than itself.
Figure 6: Wolfgang Tillmans (2011) paper drop (green) II. C- print photograph

Therefore it is possible to be attentive to both reference and representation whilst the concept of the work is still dedicated to the physicality of the photographic self.

References
  • Barthes, Roland. (1993) Camera Lucida. Published by ‘Vintage Classics’ in 1993. Originally published in French in 1980.
  • Batchen, Geoffrey (2002)  Each Wild Idea. Published by ‘MIT Press’, London, in 2002. Paperback First Edition.
  • Eichler, Dominic (2015) Wolfgang Tillmans: Abstract Pictures. Published by ‘Hatje Cantz’, Ostfildern, Germany, in 2015.
  • Pascual, Marlo (2012) Marlo Pascual: Selected Works by Marlo Pascual.  Saatchi Gallery [WWW]
  • Statzer, Mary (2014) Mary Statzer on ‘Photography into Sculpture’, New York, 1970. Aperture [WWW]

Teresa Williams

Teresa Williams is:

Working with different mediums, digital images are constructed using her own photography, found photographs, archival material and memorabilia; mostly juxtaposing the historic with the contemporary. Resultant photomontage series facilitate the cohabitation of factual and imaginary glimpses and investigations; creating vernacular narratives based on individual and collective memories and stories which are open to interpretation by the viewer. Her practice is informed through research and investigation, and has parallels with the textures and timbres associated with Music. Each piece within a series may be seen as a stand alone image as a thematic link to the whole. Other photomontage works document the changing landscape in a contemporary, abstract way.

Teresa Williams (2019) Ceiling and Oboe (after Malevich) from Hub

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In Focus: Alex Prager

The constructed worlds of Alex Prager

by Teresa Williams (9th december 2019)
Alex Prager (2013) Face in the Crowd

This session encourages participants to consider the place of memory and fiction in their images and the relationship between personal memory and constructed memory or narrative. They are encouraged to conduct in depth independent research into the work of Alex Prager

 

Prager’s distinctive works cross the worlds of art, fashion, photography and film…each of her images is packed with a multitude of emotional layers and narrative possibilities. Her early photographs were predominantly shot on sets of Los Angeles, with carefully staged scenes, further heightened by hyper-styled costumes, makeup, lighting and the use of a richly saturated colour palette, lending the images a particular dramatic intensity.’ (The Photographers Gallery 2018)

This Session could be run in conjunction with:

  • Places with a Past
  • Something Old Something New – post to come
  • Tell Me a Story – post to come

aims & Outcomes:

  • Participants will explore the place of memory and fiction in their images
  • They will research the work of Masumi Hayashi, Alex Prager, Sophie Calle and Trish Morrissey, and apply some of the concepts to their own work      
  • They will use old photographs as ‘aide memoirs’
  • Participant Outcome: 1 x 10 x 8 digital photograph
Alex Prager (2013) Welcome Home
‘Prager does for photography what James Ellroy did for crime fiction, inventing a neo-noir L.A. vernacular that creates a feeling of the past without the limitations of historical accuracy’ (Witt, 2019)

You will need:

  • Photo album(s) or digital photos from your childhood
  • Appropriate props / models
  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops) and imaging software
  • Tripods
  • Notebooks for participants to log research and sketch ideas
  • An Introductory Brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
Alex Prager (2008) from Silver Lake Drive
‘Prager’s oeuvre consists of heavily staged, large format images using rich colours. Her photographs can be seen as ‘single frame narratives’ that capture enigmatic stories within the edges of the frame. Both her photographs and films are characterised by the absence of a linear narrative; each of the works recounts a bizarre, perpetual unreality’ (foam, 2019)

preparation work:

  • Preparation Brief: Locate a memory from your childhood, and see how you can endorse and elaborate it with the help of family members / friends who share your memory, as well as photo albums / digital photos which may have recorded it. It’s important to have a strong sense of place as you will need to be able to visualise it. Make a note of any dominant colours there. Draw a sketch of how you remember the place. Your imagination will be necessary if you are unable to gather enough factual detail.
  • Ask participants to prepare for the session by conducting Independent research – talking to family / friends, finding photo albums / digital photos.
  • Ask participants to watch Alan Roth (2007) Re/collecting Memory, about the highly personal work of photographer Masumi Hayashi available here: Part 1 and Part 2
  • Ask paricipants to consider the relationship between personal memory and constructed memory or narrative by:

presentation ideas: Contextualising Alex Prager

suggested Session Outline:

  • Show participants the Presentation above / a selection of images by Prager, Hayashi, Calle and Morrissey and discuss their concept / staging / construction.
  • Referring to the Preparation Work sketch, decide where to stage a photograph which represents the memory. You may wish to restrict it to to a place although preferably you will have participants to stage a performance under your direction.  Decide how the ‘actors’ will be dressed, and what expressions or gestures them should perform.  Choose and source any props required.
  • What impact does the use of colour in Hayashi’s Gila River Relocation Camp have?
  • Research the colour theories of Wassily Kandinsky and Johannes Itten.  Consider how the choice of colour in background and costumes could have particular associations with mood or emotions.
  • Arrange the shoot and complete a risk assessment. If working in groups you can be mutual participants. Shoot in RAW format to allow for exposure and light balance tweaks later.
  • All participants to show their work for critique by tutor and peers.

Louis Stopforth

Louis Stopforth is:

A multi-disciplinary artist, who’s interests within photography are often centred around the materiality of the photograph as well as its representational nature as a visual descriptor. In exploring these themes there is often an element of challenging the viewers preconceived notions of what a photograph is and how we expect it to operate. In his own practice there is a consistent exploration of the physical form of the work and the subject being intertwined to produce an integrated viewing experience.

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In Conversation With: Lucas Gabellini-Fava

Lucas Gabellini-fava

‘My practice is quite hard to pinpoint. However, recently I have been making work where I explore new technologies and image-making techniques’ Lucas Gabellini-Fava
by Louis Stopforth (9th July 2019)
Lucas Gabellini-Fava (2019) from Programmed by my Father

LS: Firstly, could you tell the readers a little bit about your own practice as well as how you came work alongside Adam Broomberg and Oliver Chanarin? What projects have you worked on with them?

LG-F: My practice is quite hard to pinpoint. However, recently I have been making work where I explore new technologies and image-making techniques. I am currently really interested in photogrammetry and the amazing potential of 3D scanning and printing. My latest work Programmed by my Father involved a deep learning artificial intelligence that learned to create new conversations between my father and I from every conversation that we have had in person in the last year.

My friend was working for [Adam Broomberg and Oliver Chanarin] at the time and had to go and shoot a project in South Korea for a while so he asked me to take over his duties in the studio for a while. He came back and we ended up both sticking around and working alongside each other. This worked really well because we were both also studying full-time. He has now left but I have stayed on, especially to help with Chopped Liver Press. I have worked on a few, but my biggest input was with their new book The Future of Images. It was a huge job and I think that we were all super happy and proud when it was over and printed.

LS: For the last three years, you have worked for Adam Broomberg and Oliver Chanarin (Oliver in particular) in their London Studio, whilst also running and managing Chopped Liver Press. I am interested to know how these two work environments operate and how they differ.

LG-F: Chopped Liver Press is an interesting one in terms of the way it works alongside Adam and Oliver’s practice. The Chopped Liver Press studio is housed in the same studio as Oliver’s in London and so we sort of share the space in half. I think that Oliver and I have got into a really good rhythm of working on these two things at once. It is also really important for Chopped Liver Press to live in that environment as the whole project lives and thrives off of what Oliver and Adam are working on at that time or what they are interested in. The prints almost become pages of a diary that mark a certain time in the studio.

LS: The work undertaken at Chopped Liver Press seems to me more therapeutic and instinctive in comparison to the work undertaken at the London space. Is this the case?

LG-F: Definitely. A lot of the time I am working on Chopped Liver Press independently (under the artistic direction of Oliver and Adam) to allow them to work on their collaborative practice, however from time to time we will brew some coffee in the morning and play around. We’ll make frames, discuss ideas and pin stuff up on the walls. Our best conversations always start over coffee and a Chopped Liver Press poster.

LS: In a recent video, Oliver remarks that creating the monthly posters from Chopped Liver Press is a ‘meditative’ process. I feel that all the projects that the duo have produced so far have this quality. The conceptualisation of their work is highly considered. How much of the physicality of the work comes from consideration and how much comes from creative instinct and experimentation?

Chopped Liver Press (2018) Death Always Happens To Other People

LG-F:  This is a difficult question because in terms of a duo I think that both Oliver and Adam have very different personalities and they bring very different things to the table. Ideas seem to stem from books, the news and encounters with people and then it will grow from there. There is no set formula for how the work is made honestly. The conceptualisation is most definitely always highly considered but it always stems from a lot of experimentation and honestly a huge amount of interest in a wide range of different fields. They are both constantly keeping up to date with new technologies, the news and what other artists are doing.

 

 

 

LS: The Joseph Beuys quote ‘Bandage The Knife And Not The Wound’ appears both within the context of posters produced by Chopped Liver Press as well as a project of the same name. How often do the two separate outlets inform the other?

Chopped Liver Press (2018) Bandage the Knife Not The Wound

LG-F: They almost always inform each other in one way or another. Chopped Liver Press is a direct response to everything that happens in the studio and the work that they are making or conceptualising in the month that the poster is released. In a way it is an amalgam of all the most important ideas and quotes that have inspired work that has been made in the Broomberg and Chanarin studios.

LS: Talking of Joseph Beuys, his work was both a spiritual experience as well as a reflection of humanity and modern history. Oliver and Adam’s work share these qualities and additionally operates as an artistic experience. Has this connection to art always been a part of their practice? Even back when work was made in a more typical photojournalistic way, or has this developed when producing work for a gallery context?

LG-F: Oliver and Adam were really at the forefront of what they do, even when they were working together at Colors Magazine. We have a poster up on the door of the studio that states “you don’t take a photography, you make it” – and this is what they have always done. Their work has never been just about the ‘photograph’. I think their work begins with the acceptance that photography is a flawed medium at its core and through this they have found beautiful ways to tame and utilise the photographic to comment on and scrutinise any issues surrounding it.

Adam Broomberg & Oliver Chanarin (2008) The Day Nobody Died

LS: Also coming from their photojournalistic background, was The Day Nobody Died work as much a deliberation on physical presence in areas of conflict as well as that of photography, censorship and the accuracy of depicting conflict?

LG-F: The Day Nobody Died is one of my absolute favourite works by them. They simply unrolled a six-meter section of photographic paper in response to events that were happening around them during their visit to Afghanistan in the midst of the war in 2008. These were all events a ‘war’ or ‘documentary’ photographer would have recorded photographically, but instead Adam and Oliver created something that was simply a record of the day-to-day during the war but in a completely non-figurative way that removed any visual insight into what was happening. This completely subverted and turned the idea of ‘conflict’ or ‘war’ photography on its head.

LS: Typically, how do Adam and Oliver start their investigations?  For example, does work start from a point driven by their own inspirations or do they feel an obligation to disclose certain issues to the public?

LG-F: FaceTime calls early in the morning, followed by emails with some of us Ccd into and then lots of research. I think people always tend to valorise important artists by trying to understand the ‘formula’ to their work, but I think that any artist that works by the books will quickly fade out of the limelight. Every project starts differently and ends differently, it can be by leaving a certain book on the table before locking up one evening or by watching a YouTube video. The work starts with the relationship that Oliver and Adam share and the way in which they communicate and their beautifully inspiring interest in the world around and its complicated systems and structures.

LS: When it comes to publishing and exhibiting work that utilises found imagery, such as War Primer, are there ever any legal difficulties encountered during this process?

LG-F: Yes, but I know that they always try and be careful. They have run into many issues over the years, especially because a lot of their practice is based on ‘appropriation’ – however they always manage deal with anything that pops up quite valiantly. They try and talk to people and explain themselves and their work, whilst also standing their ground and defending the work that they are making.

LS: Their work consistently questions the photographic medium, its history and its place within society.Is it because of this debate that the work produced – whether this be using found imagery or their own photographic images – can be regarded equally?

LG-F: Yes absolutely, Adam and Oliver work within the ‘photographic’, but I personally wouldn’t necessarily regard them as ‘photographers’. They use the medium as a way of turning a mirror on itself and this functions whether they are the authors of the work or not.

LS: The nature of photography tells both truth and fiction simultaneously; disclosure to a subject is given a moment at a time, but the actions of both the photographer and the context of its presentation can greatly alter its meaning. Adam and Oliver are greatly aware of this and produce work that is both a personal take on a subject as well as an informative one, reflecting the paradoxical nature of photography.  How important is the conclusion of truth in engaging the viewer?

LG-F: (I understand your question here but I’m not too sure how to answer it. We can chat about it a bit if you want, if you send me an example of what you mean. Adam and Olly try and tell the truth through the photographic — which has a long history of skewing the truth. I’m not too sure how truthfulness might further engage a viewer?)

LS: The variation in aesthetic between projects is at times quite extreme and yet each project carries such importance. Is the change in project presentation always what works best for the context or is there a desired evolution of the artists practice? What can we expect to see from projects in the future?

LG-F: You can expect some amazing stuff. We all seem to be fascinated by new technologies at the moment and we are always sending each other PDFs on artificial intelligence and we are talking a lot about space!  Their practice evolves with the times and it always has. I think that is one of the reasons that their work has always and will always feel so fresh and interesting and with this the aesthetics of their work changes, but it will always keep the same foundations.

In Conversation With: Abigail Reynolds

Abigail Reynolds

Abigail Reynolds is a multi-media artist living and working in Cornwall. At the core of her practice is an investigation of both visual imagery and language, often interrogating the relationship between the two. Her work frequently explores the subjects of time and space, the shifting of context in relation to chronology, the artists self, materiality and immateriality.  Her works develop in ever more progressive ways, transforming the past in relation to the present. During this conversation Reynolds and I discuss her projects The Universal Now, Lost Libraries of the Silk Road (2018), Lost Libraries Cabinet (2019) Teaching a Stone to Talk 1988 | 2017, and When Words are Forgotten (2018). The discussion gives an insight into how she considers her work in both its creation and its finalised state. It also sheds light on her perspectives regarding photography, language, conceptual artworks, time, representation in the visual arts and the self within a number of her artworks

‘Art is a visual language, and I use the same tools when I read it as I would in reading a poem or a play’ Abigail Reynolds
by Louis Stopforth (9th October 2019)
Abigail Reynolds (2015) Desert Seeds

LS: Your practice is often concerned with language and the written word. Is it this interest that initially drew you to photography, a visual language that can be communicated beyond dialect?

AR: Art is a visual language, and I use the same tools when I read it as I would in reading a poem or a play. I guess by dialect you mean maybe language ie an English reader can read a photo from China but not a text in Chinese … photography has become a global language but I don’t agree about dialect. There are many nuances in photography that place it in time and space. There’s the approach to subject as well as camera and lens technologies.

LS: A number of your works have been comprised of the endpapers of books, titled by the names of the books they originated from. This work immediately brought to mind the piece ‘Erased de Kooning Drawing’ by Robert Rauschenberg as it comprises of no physical trace of a ‘thing’ which we might be able to decipher. Instead the work is given its weight through the inclusion of its title. We begin to recognise the importance of this empty piece of paper, and its origins. How do you view the importance of the written word alongside artworks?

‘A title / caption / script can enrich the image or totally undermine it’

AR: The relationship between a visual work and a text is complex. A title / caption / script can enrich the image or totally undermine it. I use the title to carry part of the meaning of the work, but I only give it as much weight as other, visual decisions, such as scale. Some artists use titling very strongly to create a context for a viewer to think within, for others it’s hardly of any importance beyond having a way to list works on a consignment form. ‘An Oak Tree’ by Michael Craig Martin explains this whole mechanism with a concise and riddling brilliance.

Abigail Reynolds (1998/2017) Endpaper from Teaching a Stone to Talk

 

LS: ‘Teaching a Stone To Talk 1988 | 2017 is an endpaper that shows the imprint of objects on the papers surface from prolonged exposure to a light source (indeed other endpaper works show changes in tonal range from their aged exposure to light but none so viscerally as this one). This piece is essentially a naturally occurring photogram, an effect that has long occurred prior to photography’s ‘invention’ as a process. Do you yourself view this work as photographic? 

 

 

 

AR: I do, and I like the way it speaks about the action of light and of time very directly. It also happens to suggest a narrative of the reader, an imagination of the possible reader.

LS: In recent photographic history practitioners have explored more and more the materiality of the photograph, as well as exploring society’s preconceived notions of what photography is. During your on-going project: The Universal Now, you yourself repurpose images that had the intention of being objective-documentary images, those that supposedly hold cultural, historical and anthropological value within their intended place and condition. You then transform their physical properties, as well as their purpose. Is there a conversation about society still imbedded within the transformed work, or is it more formalist than that?

Abigail Reynolds (2009) from The Universal Now

AR: In these guide-book photos of monuments the hand of the author is usually minimised. The photos are not offered to view because of the photographer but because of what is photographed. The sense of a social document is very strong in them – like a portrait of society and what it values / what it has valued. In some works a change in camera or print technology between the two photographs is obvious. I enjoy the authority of these images and teasing this out a bit by making their time-bound condition more obvious by contrast.

LS: In your interview for Elephant titled ‘Abigail Reynolds: Cuts in Time’ you mention there being a ‘compression of time’ happening in London due to its architecture. Does this mean because of photography’s ability to only record fragments of time you are making a statement against photographs as singular artefacts within your integrated images; one image from one moment in time simply isn’t enough for representing the continuous change of a landscape?

‘I join the mass of people in feeling that nothing is stable or linear – everything is fluid, fugitive, shifting’

AR: Ah yes time is compressed in London – because you can see multiple layers of time everywhere if you look properly. This just isn’t true in Los Angeles for example. The photographs build on this pre-existing condition by compressing again. Compressing two times or images into one new surface. I understand that this can also be read as a release, but I see it as a compression. I suppose I join the mass of people in feeling that nothing is stable or linear – everything is fluid, fugitive, shifting. That goes for personal identity, city spaces, public or group identity. I like this – I mean, I am not at all afraid of this, and it’s clearly true. I like also the cyclical and repetitive – the return and the echo, as we constantly move, but also often return. Like a dance.

LS: As for the construction of these works, are the forms created by splicing images done for a particular reason – or is it an intuitive process that is informed by the images used and their significance to each other?

AR: I try to listen carefully to the qualities of the photographs both their structure and attitude to the subject, then I make cuts that are finely tuned to the particular qualities that interest me. It only really works, I think, if what I do builds on the formal qualities of what is already present. Otherwise, I am just in the way. I work on images in close up. I focus on the detail, I’m very respectful of the image.

LS: The project Lost Libraries of the Silk Road, is interesting as it tackles the issue of representation in the visual arts, in particular photography and moving image. The subject matter you are exploring is no longer visually present, and therefore impossible to record. In essence, were you documenting a void, an immaterial subject matter that pushes the invisible subjects of politics, conflict, natural disaster, and time to the forefront of the work? 

AR: Yes! Given what I just said about respect for the image, I wanted to flip the playing card and see the other side – no archive, no image even. What would I do then? What will we all do then?

LS: During the course of Lost Libraries the video is narrated by three separate voices. Is this inclusion of narration added to become another descriptor beyond the visual, relieving the camera of being the sole informant for the work? 

AR: I use three voices though to dislocate again the sense of a unified self – but to convey a disparate and fugitive self. When I didn’t have much of an image to interrogate, I found the blankness really acted as a mirror, and I turned to a much more subjective mode. The film is personal, because to be confronted by such enormous swathes of time and space heightened my awareness of how localised my sense of time and history are, how my values and assumptions are so very specific to the place and time in which I happen to be living. The word ‘timeless’ is often applied to art works as a term of praise but of course there is nothing outside time. If we are given the timeless we would not know what to do with it.

‘The word ‘timeless’ is often applied to art works as a term of praise but of course there is nothing outside time. If we are given the timeless we would not know what to do with it’

LS: Compared to previous work that would be undertaken in your studio, where you could control and deliberate on the work you produce, how was it operating as a travelling artist for the Lost Libraries project, where often moments can be fleeting and out of your control?

AR: I am as likely to be bewildered in my studio as I am on the road, funnily enough. I don’t always feel in control of it. In fact, I really enjoy moments when I don’t seem to be very much in control and feel as though I am being led, rather blindly.

LS: Alongside the film appears Lost Libraries Cabinet, which acts as a physical manifestation of an otherwise intangible film.  Is the inclusion of physicality within your work a way to give tangibility to subject?

AR: The unique aspect of visual art is that it is seen in real space and time. This makes it physical tactile, more fully present. So for me the confrontation is more direct. A film-maker recently said to me ‘you can’t understand things unless you can hear them’ – maybe it’s like that. Maybe it’s giving more voice to the form, and more form to the image. More layers, more opportunities to engage with the same thought but approached from slightly different angles.

LS: ‘When Words are Forgotten’ represents the lost literature of the libraries you visited whilst capturing the individuality of texts, represented in differing colours, shapes, and textures of acrylic and glass. The transparency of these materials reiterates how these books are physically un-attainable and appear almost more like ghosts from a bygone era, haunting our social memory. Do you think there is a comparison to be made between this body of work and photographs as recorded moments of time past?

AR: Often it is the case that while I’m making a new work, the full scope of connections with the new work and existing work is not clear to me until much later. This rather like post-rationalisation; a term used to explain that artists work intuitively, but once thoughts and feelings are resolved into a finished work, the rationale suddenly becomes clear – but only after the fact. I find this very often in making formal as well as conceptual decisions. Anyway, because of the work I am making now as opposed to at the time of ‘When Words are Forgotten’, about 18 months ago, or maybe because that work exists and is very present to me, I see the glass sheets like the skeletons of leaves or yes ghosts, some energy or structure that persists though the flesh has gone. Now I am very directly working with facsimiles of The Book of the Dead, and considering river crossing and the Daguerreotype, an early photograph on mirror. Making art is inexorably pressing forward into new terrain, which means the angle of view onto the past is altered constantly.

LS: Finally, what can we expect to see from you in the future?

AR: I am now working with the collection at The Harris – which is a museum / library / public gallery in Preston. Ways of working that interested me having made the Lost Libraries installation are my starting point. I will deeply interrogate a small selection of books and photographs, both in film, so that the surfaces can be seen up close, as detailed and sumptuous as when I hold them, and also by displaying them in a cabinet of glass – so the look of the audience is simultaneously made more complex by the distorting sheets of glass, and more direct by the film. I’m really enjoying the process. The work will be on display in The Harris from 14 February 2020.

So Many Books, So Little Time

Storytelling, selecting & sequencing: The hand-made book

‘The camera may be thought of as comparable to the eye. The difference is that the camera is not more than an eye. It does not think. Any connection with judging, choosing, arranging, including, excluding, and snapping has to be with the photographer’ (Price, 1994, p.4)
Duane Michals (1973) The Bogeyman

 

In this session, participants will explore the sequencing of photographs to create a narrative. They will consider the ambiguity (or not) of images to create a story, as well as it’s relationship with accompanying text. They will produce a simple hand-made book to display the images.

 

 

 

‘Duane Michals has continually rebelled against and expanded the documentary and fine art traditions. At the onset, he baffled critics who knew not what to say of his work, rejecting the notion of the “decisive movement,” the supremacy of the sensational singular image, and the glorification of the perfect print. As an expressionist, rather than going out into the world to collect impressions of the eye, he looked inward to construct the images of his mind, exploring the unseeable themes of life, death, sensuality, and innocence’ (Reznik, 2014)

This Session could be run in conjunction with:

  • Tell Me a Story – (narrative in the single image) post to come (Jeff Wall / Gregory Crewdson)
  • (Don’t) Stop the Frame – (panorama’s) – post to come (Sam Taylor Wood / Fred Cray)
  • On this Site – post to come (Joel Sternfeld / Paul Seawright / Tom Hunter)
  • Tell Me A Story (Again)
  • Fake News?
Jeff Wall (1998-2000) The Flooded Grave
‘Like a poem, which is made up from ‘lines that resemble sentences’ but exceeds the normal way we read sentences, the poetic quality of an image transgresses the indexical truthfulness of a representation’ (Wall & Galassi, 2007, p.337)

Aims & Outcomes:

  • For participants to visually explore the nature of constructing images and sequencing them to portray a narrative through 6 images
  • For participants to understand the difference between literal and ambigous imagery (and thier consequences)
  • For participants to explore the relationship between image and text.
  • Participant Take Away Outcome: A handmade book with 6 sequenced images
Tom Hunter (2000) The Way Home from Life and Death in Hackney

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • A3 / A4 card or paper *Make sure you print the photograhs at the appropriate size to fit each page
  • Scissors, Bone Folder etc
  • An Introductory Brief & Presentation for participants to outline the ideas and provide examples
  • Some song lyrics, poems, stories *Participants can also write thier own stories e.g. remembering a dream etc
  • *If there are time constraints – you could also work in groups (with Image 1 and Image 6 being provided in pre-made books – what is the narrative in the middle? (produce 4 images to ‘complete’ the story). Here, still demonstrate how to make the book (particularly useful with younger participants)
  • A booked room to critique participants work (either via a projector (powerpoint with text) or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
‘The caption permits me to focus not only my gaze, but also my understanding’ (Barthes, 1977, p.39)

Preparation Work:

  • Practice making books yourself and decide which size you will print the photographs
  • Ask participants to read David Seidner (1987) ‘Intverview with Duane Micheals’ in BOMB Magazine, 1st July 1987 available here
  • Ask participants to watch the video Presenting The Day-to-Day Life of Albert Hastings by Kaylynn Deveney (2011) available here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers / image editing software
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers (or projectors if you are concentrating on sequencing a narrative only – create a powerpoint and include the text with each photograph)
Christopher Stewart (2002) from Insecurity

Suggested Session Outline: see Teresa williams’s website here

 

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