PAPERLIGHTPROCESS

Below are a selection of the final works that were presented in a show called PaperLightProcess London, in July 2019.The show was held at No 4 Masons Yard London SW1.

The show is featured on Photomonitor, Essays.

Essentially the project was inspired by the words of Vilem Flusser in Towards a Philosophy in Photography.

‘Freedom is playing against the camera’ says Vilem Flusser.’

I am working within photography to produce images that are cameraless .Although I trained traditionally in the analogue photographic era, I was fascinated to drop ‘pre-coded black boxes’ to work within this new discipline of photography. With this new project I set out to experiment and find this freedom that Flusser was describing.

My research started with elemental thinking about photography and it’s definition. Returning to traditional processes was for me was an important stage in my journey to better understand the wet processes that significantly underpin our understanding of photography as a medium. I am drawn to these old techniques to revisit the essence and define ‘what is a photograph in the 21st century’ for me as an artist.

At this stage I found the words of Geoffrey Batchen were all important to this project.

‘Photography is freed from its traditional subservient role as a realist mode of representation and allowed instead to become a searing index of itself, to become an art of the real.’ REF:2

Physically a photograph consists of a base, a light sensitive layer and an image. I worked with materiality, light sensitivity, and process to create my project PaperLightProcess. After experimenting with light direction and intensity of light with coloured paper sensitised with a cyanotype solution, I started to work forwards to create a body of work.

The folding of the paper is directly linked to the essay, The Fold, written by Giles Deleuze. Deleuze interprets the world as a body of infinite folds that weave through compressed time and space. While folding the works, I was mindful of how folds cannot be unfolded, they are final. This, to me, importantly relates to the irreversible damage that we have inflicted upon our world.

The flow of time/duration is also another aspect to the work. Some works have taken up to three exposures and several days to finalise. The physical, haptic approach of coating paper with a photosensitive surface was my way of connecting painting and photography in a contemporary way.