Experimental Archaeology: Within And Beyond The Archive

Exhibited at Grand Parade  & Final works

 

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Next step 

progression Exhibition for Photo Fringe Brighton 2016 / London?

to investigate:

Scale of the individual pictures  –

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Installation 

 

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Presentation

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Summary of work in progress

Fragments

In thinking about the way in which memory works as a series of nonlinear, fragmented, occurrences retained in the unconscious mind. These fragments which are mediated through time are then reassembled and recalled in conscious thought in  new and authentic ways.
 
Buildings are understood both in their spatial sense, their physicality located and in terms of the occurrences associated with them.   These memories are the fragmented of parts of the parts remembered,  rarely in its totality.
This project [work in progress] is about the way the fragmented way in which visual memory reassembled itself to reveal a new authentic image.

 

 

181215

 

pieces 

shadow defined is the interaction between light and surface – uniquely created in location, time and ((season (naturally occurring))

shadow
1. a dark area or shape produced by a body coming between rays of light and a surface.
“trees cast long shadows”
2. used in reference to proximity, ominous oppressiveness, or sadness and gloom.
“the shadow of war fell across Europe”

verb
3rd person present: shadows
1. envelop in shadow; cast a shadow over.
“the market is shadowed by St Margaret’s church”
synonyms: overshadow, cast a shadow over, envelop in shadow, shade, block off the light to; More
2. follow and observe (someone) closely and secretly.
“he had been up all night shadowing a team of poachers”
synonyms: follow, trail, track, dog someone’s footsteps, keep watch on; More

211215 – disturbing reading

My approach is to subvert the reading of the photograph, both intrinsically and extrinsically.  what Is meant is that the photograph should have

  • settled in its abstract nature
  • serene appearance of white (light in colour), pure,  calm, peaceful, and untroubled; tranquil.
  • in addition it be unclear what is being observed, almost familiar but not quite. Think in the same terms as a graphic artist – shapes but created by light – signifying confusion in the process of moving buildings

represented in the diametrically opposed position of what is in fact happening. as follows:

211215 – disturbing (the) reading

Starting the put the work together firstly it started to suggest it own reading, than I asked why I should not be disturbing the reading of the image. nature of reading about the building is disturbing, the turbulence to come over the next semester is disturbing. I am disturbed.

I think the images would work best alone, rather than in pairs as set out.

 

091215

071215

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Influence

Alexander Calder Modernist artist -Tate modern 231215 
Proscenium arch? of a theatre
Neo-concrete movement
Motion, space, dynamic Interaction between the vier and the artwork
Calder’s maquettes for the New York world fair 1938 (calder foundation x53087)
What is particularly interesting in Calder’s work is with the wire sculptures is the use of shadow – intentional or not it adds a dimension to the work which is intriguing…(memory man reference here also)
Thoughts…
I feel too restricted by medium specificity the frame, it’s limiting my outlook on photography making my approach small, confined and domestic…

Exhibition Places with a past -(lost property) Christian Boltanski

House (1993) was never intended as a permanent work – its physical manifestation of imposed absence demanded that it must disappear just as 193 Grove Road had before it. Maggie Grey on Rachel Whiteread

http://www.apollo-magazine.com/house (accessed 4th January 2016)

Boltanski takes advantage of the irredeemable sense of loss associated with memory processes… constantly reminding the viewer that what is seen is entirely constructed. He gently reminds us that there was never an original pure identity to the past we can mourn the loss of and while our recreations of the past may flicker or go out, our memory is a performance created in the moment, filtered through a million preconceptions and adaptations, a fragile action that needs constant attention and which speaks just as much of the present as it does of the past.

Rebecca Caines, ‘Christian Boltanski: Representation and the Performance of Memory’, Afterimage 32:1 2004: 4-5

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041215

to elevate the objects to the level of sculpture, singular, solitude.

031115

3) Details of surfaces  I like the way that a combination of images are starting to tell the story of the planes, I think I need to shoot continuing with this approach, creating the personalities with the planes by combining images?

Circus Street_Details_041115-1

First experiments

1) This experiment is concerned with borrowed light; walls and planes made visible this in turn bring the space into our consciousness.

271115

Circus Street_Borrowed Light_271115_01-1

2)…Available light;  this experiment is about time, the time which is taken to collect [the available light]. This experimental approach connects me with the unconscious place, a tangible which is untouchable…

  • photographs taken handheld, max values camera would allow
  • setting ?
  • Timing?
  • colour
  • Digital

_MG_2704

Circus Street_Availible Light_271115_01-1

spaces Outside

 Spaces Inside 

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The Brief

“Archive”: a collection of historical documents or records of a government, a family, a place, an organisation

“Archivist”: a person, whose job is to develop and maintain an archive

(Oxford dictionary)

Archives are cultural warehouses, storage systems for memories and data, offering insights, traces of past experience, they can help raise new questions and gain better understanding about the past.

This year, we will work with the notion of place as archive – our Circus Street building faces demolition at the end of 2015 despite being the only surviving elementary school of the Carlton Hill neighbourhood which started to disappear as part of so-called ‘slum clearance’ from the 1930s onwards. We will begin by investigating the history of the neighbourhood and the building itself, looking at original building plans, exploring the building’s uses over time, view archival photographs held at the Keep and elsewhere. This brief is an invitation to photographically document the building and the area as it changes forever, to interview and photograph nearby residents and workers, or to engage directly with the archival material itself.

Your final project could be a personal inventory, a narrative combining image/text, a sequence of images following the specific story of one or more objects found in an archive, or any other visual sequence inspired by either a real or imagined (fictitious) archive.   Your response can be experimental, but your final work/submission should come together as one piece of work.

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in progress ii

Portraiture & the space

a presence in the space

  • combinations of long exposure & handheld
  • combinations of long artificial lights & tripod & people 

working with the space & surfaces

the presence of space

  • deconstructing the available light
    • either through under exposure
    • long exposure
  • Handheld

with

  • combinations of long exposure & handheld
  • combinations of long artificial lights & handheld

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in progress i

Works I will be referencing

 

using the light to create the shape over time

Constructing Worlds :Photography and Architecture in the Modern Age
Hiroshi Sugimoto ,Installation images, Barbican Art Gallery
25 Sept 2014 – 11 Jan 2015 © Chris Jackson / Getty Images

The exhibition graphically illustrates that photographers can provide many different narrative threads when documenting the rise and fall of architectural projects from all over the world.  In many ways the exhibition can be seen as a timeline of urbanisation and a changing industrial landscape over the last eighty years. It also reflects the rise and fall of particular ideologies and cultures  that often use monumental structures as an indication of their standing in the world.  One of the most striking aspects of many of the photographs is that as buildings and structures have got bigger , the individual person has diminished or disappeared altogether , perhaps indicating that little thought is often given to the  people who have live in the environment.

But in many ways the exhibition as a wider appeal to anyone who is interested how buildings and structures can be used to promote visions of ourselves and the societies we live in.

sugimotohiroshi[ Accesses 261115]

 

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