Three day time-lapse showing the gallery residency, exhibition set up, and symposium.
Making Representations was a three-day project which ran from 27 February – 1st March 2019, in the Phoenix Studios North Gallery, Brighton. The project culminated in a half-day symposium followed by a public exhibition opening, and included five artist-researchers – Bill Leslie, Eleanor Suess, Charlotte Warne Thomas, Katie McCallum, Felicity Hammond and Dean Kenning, whose work all touches on questions of representation – architectural, filmic, mathematical, linguistic and photographic. The symposium consisted of performances, workshop activities, and concluded with a discussion of wider issues of representation. Continue reading “Phoenix Gallery Timeframes at Making Representations”→
While I was in Australia this Christmas I worked out of one of the studios in my old architecture/art school at the University of Western Australia (UWA). I was keen to build upon the recent site-specific work I have been developing in my own studio in Croydon, specifically around the making of a model which “reconstructs” the space of the studio, and which, along with my actions as model-maker and film-maker, is then filmed within that space.
As part of the ASC’s Croydon Studio’s inaugural exhibition, 40° Celsius, I exhibited an installation of clips of footage that I had taken from the windows in my new studio, F23, in the ASC Grafton Quarter.
Found box with bubble wrap floor and open roof filmed in Austinmer, NSW, Australia, using two Firefly 8S (90º FOV) cameras positioned side-by-side, using time-lapse recording at 1 frame every 2 seconds. Continue reading “Austinmer box 1 – split screen”→
I have been working with a 7 minute piece of footage shot during the March 2018 snow, from the train window between Wimbledon and Clapham Junction stations, passing through Earlsfield. The footage was compelling largely due to the transformation of the city, both green spaces and built-up areas, by the layer of snow.
I started with the simple triptych format that I had employed in “Approach“, staggering the single vertical format section of footage by just under a second – this was enough to align the objects at a relatively close distance. I used the “Wimbledon A” signal box in the shot below as the register for the time separation. Objects closer and further from the camera are out of alignment between each frame, due to the differential parallax.
My work filming architectural models led me to consider how I could explore sunlight’s effect on architectural materials, over time, such as fading. As I was familiar with the cyanotype photographic printing process I developed a way of combining cyanotype with models to make prints of the moving sunlight within the models.