Places of fracture where objects creak, rasp, scrape. Scuff against their own qualities.
Shifting surfaces; slippery adumbrations of appearance, at a crossroads with the enduring deep.
The ice crystal: comprised of layer upon layer of mineral, expanding in all directions. A fluctuating spectrum of representation-abstraction. In this mode, a series of site-responsive cyanotypes produced directly from a frozen natural pond, alongside a set of analogue photographs, explore allusive weathering processes in the land. Transitions in light and substance, rhythm, speed and movement that escape temporal experience - enveloped in the understanding that we do not submit to time, but rather bring it into being. The work embraces both the observed and the chance encounter, signals the visible alongside the oblique, and the tangible alongside the withdrawn.
August Strindberg, Swedish writer, painter, and elemental photographer of the 19th Century: “Could water in vapour form, having passed through plants a number of times, have taken and kept the imprint of their shape? Could that same water, leaving the primitive state of its crystalline shape, be capable of developing and creating free shapes in crystal formations? Did water give plants their shape, or is it the other way round?”
Clermont, New York, USA (2017)
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Unique cyanotypes prints on paper, vellum & found timber, series of 20. Still from moving image
Installation views & details (Residency 108, New York, 2017)