2009. március 31., kedd


Some of the more grandiose ideas I have had about presenting my photographs have been put aside in favour of this back-lit frame design. This change of ideas was also partly due to cost and time constraints. In tutorial time with Graham Giles we discussed the idea of having the images set back slightly in the frame to create an allusion to windows. This is an idea I have taken forward in this design as it ties in with my interest in realism; the frame is an unnatural way of seeing but the window is a frame we encounter daily. The window is also a recurring theme within my poetry, if not literally then as a metaphor for the distance between the reader and the scene itself. The same can be said for my photographs; the images are little dioramas, the depth of field keeping the viewer at arms length.
This preliminary box has been cut from MDF and uses two 60w bulbs. The bulbs have been placed above the images to give a spread of light representative of the light coming down from the sky. This has failed in the top instance however, as I have done nothing to mute the light seeping up from the lower bulb. I had decided to use two pairs as the initial symmetry of the images renders them as one, and so by having two pairs, there is both a pair of pairs and a single pair at the same time. This has not really worked in actuality; there is no real dialogue between the pairs. The viewer would be expected to work too hard, seeing the pairs as a whole, then individually, then the dialogue between images and pairs. This is too much. There is also an issue with the size of the frame, which is competing with the image somewhat and the use of MDF is rather plain.

I am however pleased with the spread of light on the walls, which acts as a secondary frame, quietly mirroring the pairing of images. The spread is also effected by the amount of light in the room and in turn the time of day, further reinforcing the idea of the frame as a window and effecting the reading depending on what time of day it is seen, which is an aspect I was worried I would lose by exhibiting indoors.

Future frames will address the issues outlined here. In addition to this I have decided to use only scrap wood I have salvaged from the sites I have photographed. I have been adamant that this project is a continuation of my work in Budapest in which we used elements associated with the gallery in an urban context; by taking elements of these urban spaces and putting them in a gallery context a similar effect will be realised. Derrida considers the frame as a parergon, translating literally as outside the work. The frame to Derrida is both essential as a means of highlighting the difference between what is the work and what is not, but it is also unessential to the work. The context of photography creates an interesting dialogue if we consider the work in Derridan terms. The frame is not only outside the work in terms of its use as a device, but if I am to use wood from the sites in the images, the frame then also comes from the work; thus the frame is both inside the work and outside it. Furthermore, the work itself is representation and therefore also exists outside the work. This will be interesting in the context of exhibiting in Stew gallery as until recently is was a derelict and redundant site, not dissimilar from the scenes I have been photographing.

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