CAPTURING THOUGHTS WHILE RESTING (2025 – 2026)

Thought: In the dream there was a cake. Outside of the dream, I was on the ferry and then drove a long way to meet the artists and curators. When I arrived there were two beautifully decorated cakes.

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Thought:  He measured the pulsating energy of the gigantic Poplar tree’s root.

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Thought: The colour of the Oriental poppy Papever Orientale.

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Thought:  Clinging to the mailbox outside the front door was a huge moth about the size of the palm of my hand with brown markings and a large black eye-spot with rings on each of the back wings.

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Thought:  His voice slow, quiet, hauntingly familiar. “Who am I speaking to?”

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Thought: “Regarding that incident at the gallery a few years back, the guys – the Chair was also there, the Guys discussed it over a beer and we all agreed, you know, that you were right but you were wrong. You know what I mean you were right but I mean at the same time you were wrong.”

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Thought:  They were dark murky photographs of the night sky. It was twenty or more years ago and I can’t remember the name of the artist or the exhibition.

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Thought:  I can see her monumental sculptures in Styrofroam cast in bronze. She died of styrene  poisoning.

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Thought : She is holding two large pieces of tree fungi to the sides of her head, large ears trying to hear something in the forest that perhaps her own ears are incapable of hearing.

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In the practice of meditation one trains in awareness of thoughts that arise in the mind. These thoughts cannot be seen nor can they be documented. 

However, in the early 1900 when photography was in its infancy, people were experimenting with just this; the use pf photographic means to document the workings of the mind. The question of representing the invisible… the idea that the camera could capture the non-visible seemed plausible. After all, photography represented reality and its documentary indexical nature led naturally to its possibilities outside the empirical, and the idea of capturing thoughts with the help of this mechanical apparatus became of interest. 

In 1911, James Coates wrote; To say that the invisible cannot be photographed, even on the material plane, would be to confess ignorance of facts which are commonplace – as, for instance, the mention the application of X-ray photography to the exploration of the muscles, of fractures of bone, and the internal organs. Astronomical photography affords innumerable illustrations of photographing the invisible. In the foregoing, and analogous cases, the photographing is that of material, though invisible objects. And, in 1911 Louis Darget wrote, When the human soul produces a thought it sends vibrations through the brain, the phosphorous it contains starts radiating, and the rays are projected out. Darget believed that he could photograph the inner workings of the mind and in one of his famous experiments he asked his wife to hold a photographic plate about an inch in front of her face in the darkness. When the blurry image was developed, he wrote Dream Photography; The Eagle. With this image he was convinced that he had successfully captured a photograph of thought projected from her brain. In a letter to the French Academy of Sciences in 1904 he claimed that his photographic method could reveal the inner working of the mind. 

Madge Donohoe, an Australian journalist of the 1930s made an album of what she called “photographs of thoughts”. The images were produced by holding the photographic plate next to her face or head. 

Donohue’s photographs as well as those of numerous others, were conceived of as documentary and the emphasis was put on the objective aspect of photography. They were not seen as interpretations but as a natural cause of the effect of radiations or thoughts on the photographic plate or negative. 

We now know that these experiments along with spiritual photographs claiming to capture the images of ghosts and ectoplasm were the result of light leaks and inconsistencies in the photographic solutions on the plates.  And although these light leaks did not actually document thoughts, the apodictic aspect of photography allowed it to be disseminated as a positive proof. The belief in photography’s indexical character allowed the viewer to take an abstract and/or blurry image and tie it to an actual referent in the world.

Wanting to explore this idea, I proceeded by placing an 8” X 10” piece of photographic film into an empty film box in the darkroom. The film box is really only partially light proof.

I then focused my large format camera towards my bed and opened the shutter. While the camera documented me lying on my bed I put the box containing the large sheet of film under my head. As thoughts arose in my mind I would focus on one in particular for 5 minutes. 

I then developed both the 4” X 5” film which documented my 5-minute ‘rest’ along with the 8” X 10” piece of film that was inside the film box. The resultant images; the 5-minute time exposure of me ‘resting’ and the abstract images from the film box are exhibited together along with the text of the subject I was contemplating while I rested.