Meditation on the Studio Wall
During the 25 minutes that the camera exposed its film to a 16″ X 20″ section of the studio wall , I would sit, open my eyes and meditate on that section of the wall for the same length of time.
During the 25 minutes that the camera exposed its film to a 16″ X 20″ section of the studio wall , I would sit, open my eyes and meditate on that section of the wall for the same length of time.
A curator working on research for a craft exhibition drew my attention to an image he had uncovered on the internet. It depicted a large sisal textile piece I had…
It was an amazing process involving a strange gelatinous concoction of silver nitrate and other chemicals heated in a crock pot in the darkroom to be later cooled and then squeezed through a kitchen ‘ricer’ and then reheated. The liquid was then carefully poured onto the surface of a very clean pieces of glass put into the back of the 4″ X5 camera and exposed.
At present my studio is a building behind my house.
I consider Morandi in his bedroom, painting images of bottles in Bologna while fascists take hold of Italy and think about about the relevance and significance of my ‘practice’. Adopting…
“We face the imperative to understand anew today what it might mean for photography to ‘move beyond representation’.” (Hito Steyerl from ‘Documentary Uncertainty’)
Over the past week I encountered two works that caught my attention. One was during a critique session at UVic when Nic Vandergugten presented a video installation of Tree Climb the other was over a coffee with Trudi Lynn Smith as we talked about her ongoing project Trouble With Trematodes.