Incidents and Arguments


In this series, the volumes of the self-contained, photographic image-space and the outside here and now of the gallery/install space are at play. The human figures that feature across the series are anonymous vessels, actors in arbitrary encounters and function as personifications of ‘the photograph’. Paradoxically, the figures always appear to be conscious of the cut voids and mirror incursions that attempt to undermine their image world.

Incidents and Arguments: Myth

Media: Face mounted C-type print to glass, cut void, mirror mounted to rear, 43cm(w) x 35cm(d) x 1cm(h), 2010

In ‘Myth’, the figure of a young girl looks into a mirror, the mirror itself the first form of ‘perfect’, confirmed reality; a multi-layered allegory for photography and our fascination with representation. The mirror here reads as a pool, the earliest form of reflection again, referencing the Greek and Roman tale of Narcissus who was transfixed by his own reflection. The mirror-void cut parallel to the surface in opposition to the perspective of the image. The work is sited horizontally; the gallery visitor leans over to view the work echoing the activity of the girl in the photograph.

Incidents and Arguments: Proof

Media: Face mounted C-type print to glass, cut void, mirror mounted to rear, 45cm(w) x 37cm(d) x 1cm(h), 2010

'Proof' depicts light moving between the two usually self contained worlds of the image and the gallery space. In the image, a young man has his eyes closed and the shutters to the windows are closed too. The unexposed, usually hermetically sealed world of the photographic image, dark and empty until flooded on exposure and captured, confirmed with a proof (as the truth). Running counter however, a tangental mirror-slice is inserted into the print surface and may or may not reflect light in.

Incidents and Arguments: The Appearance

Media: Face mounted C-type print to glass, cut void, mirror mounted to rear, 35cm(w) x 27cm(d) x .8cm(h), shelf, 2010

'The Appearance' features a modern bathroom interior that with its tiling forms a Cartesian-perspective, grid-like image-space. This is intersected by a looming mirror-void, apparently aligning with the depth of the pictorial space but at odds as its' cut exposed edges return it flat. The work when installed tilted back on a shelf, aligns the perspective in the image with its surroundings. The woman bathing looks into the mirror-void, her posture somewhere between apprehension and fascination. Destined to never see herself, but just inversely, the ceiling of the gallery/install space.

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