The idea was to invite visitors to reflect about the transformations which occur from OBJECT/S to PHOTOGRAPHIC RE-PRESENTATION.
See: 'Objects in Waiting'
Friday 12 October 2007
EXHIBITING OBJECTS
As part of the FORMAT06 Festival (Derby), where 'Histoires...' were exhibited in the Lord Mayor's Chambers, among oher objects displayed in cabinets, I also exhibited, in a showcase, some of the objects as pairings which were finalized but not yet 'produced'.
The idea was to invite visitors to reflect about the transformations which occur from OBJECT/S to PHOTOGRAPHIC RE-PRESENTATION.
See: 'Objects in Waiting'
The idea was to invite visitors to reflect about the transformations which occur from OBJECT/S to PHOTOGRAPHIC RE-PRESENTATION.
See: 'Objects in Waiting'
EXHIBITIONS
A full set of the pigment print version of the first series of 'Histoires...' was first exhibited at Fermynwood Gallery, as part of the exhibition 'An Archaeology of Everyday Things' curated by Anna Douglas (March-May 2006).
A selection of two DRY (81 x 81cm) and four WET (61 x 61cm) process prints were first shown together at RENCONTRES INTERNATIONALES DE LA PHOTOGRAPHIE D'ARLES (2006), as part of LUMINOUS, an exhibition curated by Addie Vassie (Gallery Vassie, Amsterdam).
Twelve prints from the lambda editions subsequently exhibited at FORMAT06 PHOTO FESTIVAL, DERBY (2006):
Six pigment prints exhibited at THE MIDLANDS ART CENTER, BIRMINGHAM (2006):
Twelve Lambda prints were recently exhibited at Gallery Vassie, Amsterdam (2007):
A selection of two DRY (81 x 81cm) and four WET (61 x 61cm) process prints were first shown together at RENCONTRES INTERNATIONALES DE LA PHOTOGRAPHIE D'ARLES (2006), as part of LUMINOUS, an exhibition curated by Addie Vassie (Gallery Vassie, Amsterdam).
Twelve prints from the lambda editions subsequently exhibited at FORMAT06 PHOTO FESTIVAL, DERBY (2006):
Six pigment prints exhibited at THE MIDLANDS ART CENTER, BIRMINGHAM (2006):
Twelve Lambda prints were recently exhibited at Gallery Vassie, Amsterdam (2007):
FORMAT/S
The square format was initially selected as the most effective; in preference to the rectangle, which carries too many realist connotations: window, landscape, etc.
Recently I introduced the rectangular format to accomodate scenes in which,—as in 'Histoires...'#33 (Blow Torch.Ballerina)—the objects have an horizontal emphasis.
As an alternative, I have also done a version of that piece in a dyptych format, which consists of two square aluminium + acrylic panels (51 x 51cm), each carrying the image of one of the two objects.
This latter format will give the owners of the piece more flexibility in the display of the work; like some Medieval, Renaissance and Baroque versions of the Annunciation did, where the Angel and Mary are painted on separate panels, which, depending on their size, can be displayed close or wide apart.
I developed this dyptych format during an artist residency at Kashi Art Gallery (Kochi, Kerala), for 'HISTOIRES...' and for a new series, entitled:'MUSEO-GRAPHIES'.
Recently I introduced the rectangular format to accomodate scenes in which,—as in 'Histoires...'#33 (Blow Torch.Ballerina)—the objects have an horizontal emphasis.
As an alternative, I have also done a version of that piece in a dyptych format, which consists of two square aluminium + acrylic panels (51 x 51cm), each carrying the image of one of the two objects.
This latter format will give the owners of the piece more flexibility in the display of the work; like some Medieval, Renaissance and Baroque versions of the Annunciation did, where the Angel and Mary are painted on separate panels, which, depending on their size, can be displayed close or wide apart.
I developed this dyptych format during an artist residency at Kashi Art Gallery (Kochi, Kerala), for 'HISTOIRES...' and for a new series, entitled:'MUSEO-GRAPHIES'.
EDITIONS: PAPER + PROCESSES + SIZES
The first print produced were pigment prints on Lyson 300gsm acid-free smooth fine art paper. Size 61 x 61cm.
Four were exhibited at Hereford Photo Festival (2005).
On the basis of the size of the objects and their reproductibility, I decided that prints would come in two sizes: 61 x 61cm and 81 x 81cm; each in an edition of five.
I subsequently experimented in wet processes (Lambda) and mounting the print between aluminium and acrylic.
The result was sufficiently distinctive to justify making a separate edition of five for each size.
(See: FORMAT)
Four were exhibited at Hereford Photo Festival (2005).
On the basis of the size of the objects and their reproductibility, I decided that prints would come in two sizes: 61 x 61cm and 81 x 81cm; each in an edition of five.
I subsequently experimented in wet processes (Lambda) and mounting the print between aluminium and acrylic.
The result was sufficiently distinctive to justify making a separate edition of five for each size.
(See: FORMAT)
Thursday 11 October 2007
'HISTOIRES...': 2006
'Histoires...' #17 (Marquis.Dogon) concludes the first series of HISTOIRES.
Throughout the year 2006, I worked on a new series consisting almost solely of new objects.
In addition to staging inter-cultural conflicts, as previously, this series introduces a composition ('Histoires...'#23, Tusk Worship) which explores intra-cultural conflicts.
During the same year, I form the project of a new series—BESTIAIRE—in which the actors are animals and, in some cases, an animal and a human. A limited number of compositions have been finalized and are awaiting production.
This second set of 'HISTOIRES...' culminates in 'Histoires...'#26 (Egyptian.Spray); which opens a new series which brings together a figure and an everyday object.
The second piece in this series,'Histoires...'#33 (Blow Torch. Ballerina) introduces two new formats: rectangular (100x80cm) and dyptych: 51x51cm.
Throughout the year 2006, I worked on a new series consisting almost solely of new objects.
In addition to staging inter-cultural conflicts, as previously, this series introduces a composition ('Histoires...'#23, Tusk Worship) which explores intra-cultural conflicts.
During the same year, I form the project of a new series—BESTIAIRE—in which the actors are animals and, in some cases, an animal and a human. A limited number of compositions have been finalized and are awaiting production.
This second set of 'HISTOIRES...' culminates in 'Histoires...'#26 (Egyptian.Spray); which opens a new series which brings together a figure and an everyday object.
The second piece in this series,'Histoires...'#33 (Blow Torch. Ballerina) introduces two new formats: rectangular (100x80cm) and dyptych: 51x51cm.
'HISTOIRES...'#17 (MARQUIS.DOGON)
72dpi+copy.jpg)
61x61cm also available as 81x81cm
This image crystallizes what the 'Histoires...' series aspires to: to create 'emblematic situations' capable, via the detour of FICTION, to lead us back into concrete realities of HISTORY: Past, Present and Future...
72dpi+copy+1.jpg)
72dpi+copy+1.jpg)
72dpi+copy+1.jpg)
THE MEANING OF 'HISTOIRES...'/(HI)STORIES
In French, the meaning of the word 'histoire' is both 'history' and 'story'; a productive conjunction of meanings, and a suitable title for a series of work which explores historical events (more specifically the basis of these events; what made them possible), by alluding to the situations when two 'cultures' come into contact.
The field encompasses all instances of inter-cultural contacts and clashes which occurred in the course of human history (up to now), and those that will occur in the future...
The field encompasses all instances of inter-cultural contacts and clashes which occurred in the course of human history (up to now), and those that will occur in the future...
INTERPRETATION
BEYOND THE LITERAL: FROM 'REPRESENTATION' TO 'PROPOSITION'
'The juxtapposition between a figure with open arm and one wrapped in a cloak of gold inevitably invites interpretation along certain lines; whilst leaving scope for personal interpretations to flourish...
By presenting cultural stereotypes rather than individuals, and transposing them in the realm of fiction, wrapped in HUMOUR, this imaginary encounter, shifts our attention from specific events onto generic 'stituations'.
Here, unlike in much photography, viewers are not confronted with the representation of an event, but with an 'open' proposition/s about situations.
This is reinforced by a deliberate recourse to anachronism, which invites us to extrapolate rather than to merely witness an event.
'The juxtapposition between a figure with open arm and one wrapped in a cloak of gold inevitably invites interpretation along certain lines; whilst leaving scope for personal interpretations to flourish...
By presenting cultural stereotypes rather than individuals, and transposing them in the realm of fiction, wrapped in HUMOUR, this imaginary encounter, shifts our attention from specific events onto generic 'stituations'.
Here, unlike in much photography, viewers are not confronted with the representation of an event, but with an 'open' proposition/s about situations.
This is reinforced by a deliberate recourse to anachronism, which invites us to extrapolate rather than to merely witness an event.
HISTOIRES/(HI)STORIES...: START HERE!
72dpi+copy+1.jpg)
It all started when an Etruscan bronze votive figurine came face-to-face with a Baroque Jesus in gilt bronze...
This juxtapposition—or 'confrontation', as it seemed at the time—transformed the objects from Antique artefacts (both documents and monuments of art historical value) into 'actors' in an allegorical play.
Body language, the space between the figures, the empty white stage onto which subtle shaddows anchor the figures in a 'real' space, and the materiality of the figures combine to present visual propositions about the vicissitudes of Human History, when two cultures come into contact...
Subscribe to:
Posts (Atom)
