My practice is site responsive; the work begins with a photographic investigation of the space, architecture and objects that inhabits a particular site that I’ve usually been invited to work within.
After this period of photographing and investigating the site, I will begin to identify elements that I am drawn to. Normally these elements will take the form of an object, though at times the work has included the space and architecture.
The object, architecture or space will possess features that reference something completely contradictory or surreal, which is usually exaggerated and emphasized within imagery using photographic manipulation.
The prints created will thus be experimented with using a variety of alternative processes. Recently, this has included multiple exposure and playing with scale, though within past works, I have utilized chemical manipulation of the print and collage.
My aim of manipulating the imagery is to create a photographic space that is full of tension, fragmentation and contradiction. I’ve become interested within some of the ideas expressed within Michael Foucault “of other spaces” and definitions/interpretations surrounding the concept of Hetertopias
“The heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible” Foucault “of other space”
‘In a heterotopia, multiple spaces are represented, inverted, and brought into tension’ Anne Pasek “Heterotopologies” (http://blog.latitude53.org/tagged/Anne+Pasek/page/3)
I feel that there is a link between Hetertopias and the space within a photograph, that an image can become a counter site, or other space? The objects photographed become a Hetertopia, another space, which mimics the depicted yet completely inverts and distorts simultaneously.
Tension between materiality and image. The imagery creates a counter space, suggesting a photographic place, yet the materiality of the print references the photograph as object. Thus tension occurs between these two dualities.
In the past, the work has focused on evoking the uncanny, I feel isn’t as obvious within recent pieces, yet the idea of familiar/unfamiliar and inclusion of repetition (themes of the uncanny) are still distinctly present within the work.
“Heterotopias also reflect a curious slippage between the familiar and the unfamiliar, a property expressed by Sigmund Freud’s notion of the ‘uncanny.’” Danielle Manning (http://shiftjournal.org/wp-content/uploads/2014/11/manning.pdf)
Site=Object (within site)-Space (photographic space)-Object-(the photograph and its materiality)-Space (the photograph in relation to space)
Repetition seems central to the work.
Research and Thoughts-Monday 26th January 2015
Photography captures time and space: (The photograph is) “a fragment of the spatio-time continuum”’ 190-Thinking Photography (Photography, Phantasy, Function), Victor Burgin
Within the practice, I utilise defamiliarization as a technique to distort the object (everyday), creating an unfamiliar photographic space.
Familiar Objects creating Unfamiliar Space.
Defamiliarization/ Ostranenie/ Estrangement:
“The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects "unfamiliar," to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object: the object is not important...” Viktor Shklovsky ‘Art as Technique’
Russian Formalism/ Constructivism-Alexander Rodchenko