A selection of work from my Personal Practice –
“Gather in the Tower,
As I collapse into silver”
Sonic Vigil: Breathing Space and e5process Collective.
A 12 hour Breathing Space durational performance at Augustine’s Tower, Narrow Way, Hackney, April 2017, where E5 Process Collective collaborated to produce a body of work in response to Breathing Space’s practice and the tower itself.
Revela T, Barcelona, Spain.
Schaelpic Photokunstbar, Cologne, Germany.
Lith print from collodion glass plate.
SURFACE AND LIGHT
An exhibition by E5 Process Collective
Archive Gallery, London.
Lith print on Ilford warmtone from a wet plate (whole plate). 40cm lens f4.1 mounted on 10 x 8 MPP, 3 seconds
The Wet Plate collodion process is an early photographic process which involves the use of a glass or metal plate sensitised by placing it in a bath of Silver Nitrate and then exposing the plate while it is still wet.
The cyanotype photographic process results in permanent photographic images in an elegant assortment of blue values.
The English scientist and astronomer Sir John Herschel discovered the process in 1842, a mere three years after the ”official” announcement of the discovery of photography. Herschel is the same gentleman who coined the words “positive and negative”, “photograph” and “snapshot”.
One of the first people to put the cyanotype process to use was Anna Atkins (1799-1871), who in October 1843 became the first person to produce a photographically illustrated book using cyanotypes.
The process was also used extensively for copying architectural plans until it was made obsolete by photocopying and computer printers. This is where we get the phrase ”Blueprint” from.
The final size of the image is dictated by the size of the negative. A print is produced by contact printing directly from an object or photographic negative.
Watercolour paper is impregnated with 2 coats of an iron based solution. Once dry the negative is placed on top and exposed to the sun or an ultraviolet light . The iron reacts and turns the paper a rich blue color. Washing the print in water fixes the image and makes it permanent.
The extent of color change is dependent on the ratios of the different chemicals used and amount of UV light passing through the object or negative. This results in every image being a unique print.
Showing at KULUNGWANA gallery, Maputo, Mozambique. 9 – 24 June.
The work shown in “Fragments from the Lake of Dreams” was produced in ongoing experiments with pinhole and alternative photography techniques. Work shown included a selection of personal colour pinhole photographs and black and white pinhole images from workshops as part of KULUNGWANA outreach program with Escola Primária Completa 25 de Junho.
During the opening night, alongside performances by dancers/musicians/circus performers, there was a workshop where guests were invited to make a photogram of their hands and share a dream. The “Dream Hands” were left in situ as part of the exhibition.
Link to gallery from opening night
Documentation of the nightly migration of Long-tailed Fruit Bat, Notopteris macdonaldi in Fiji.
Exhibited in the Fiji Art Council Annual Exhibition, Suva, Viti Levu.
A selection of images from a six month sharing of a visual diary of the tables two artists sat at. One Scottish one Romanian.
Link to a tables book
From the sky
A selection of images from a project documenting the traces we leave behind everyday.
Link to traces book
Stills from video of self projection back into slide-show of images from childhood.