Shift preparation. I'll have more details about the exhibition and events soon.
The lighting plays an enormous factor on what you can and cannot see within the :spectre series. It's never been more noticeable than it is when they're still wet.
It's been awhile, no? It's just been more of the same through June and July, which is why I haven't really updated with any studio shots. I combined :spectre with the rest of the instant series last month and have been slowly building it into an installation. Looks a bit like a glitch, I think. Once poised on Laing's wall and allowed to breathe, I think there'll be little doubt what it's representative of. Anyway, since I finally made it over to the second wall, I thought now would be a good time as any to update my journal.
The close-up of the four photographs is really to focus on the bottom right -- I've been creating these for about four years now, and the method still leaves me pleasantly surprised.
I’ve stopped transferring the developer to tissue and started using it with hot-press watercolour to make prints. They don’t really translate well to digital media, so I have no examples as of yet. But perhaps when they’re framed they’ll be a bit more photogenic. In the meanwhile, they’ll sit patiently in the background.
In 1951 John Cage stepped into Harvard’s anechoic chamber expecting to experience silence. What he heard instead was the sound of his body, the high pitched hum of his nervous system and the low bass of his blood circulation. I will never tire of telling this story.
This exhibition will navigate loss, death, and grief through photographic practice; using damaged and broken equipment as the language of mourning. Through destruction as a narrative, the exhibition will draw out and identify the seemingly endless melancholia of arrested grief, corrupted sense of self, disengaged memory sequences, and unfocussed wandering.
RESEARCH & STUDIO DIARY
Here you will find essays, texts, experiments, and information about my research and studio development.