Having hung, photographed and considered my scrap-wood frame, I have decided not to frame my images. I feel it is important to not only create but also to consider works outside the gallery context, which O’Doherty tells us is a ‘space where powerful ideas about art focus on them.’ In a bleached gallery space an atmosphere is created in which objects become mystified; O’Doherty describes how a firehose can become ‘an esthetic conundrum.’ To see my frame on a wall in my home, a space in which I am so familiar I ignore entirely without trying to, is to see the piece for exactly what it is. There is relevant theory behind my ideas in using a frame, but in terms of aesthetics and the way in which the images have evolved through pairing; the frame is a distraction. I have stated many times that the way in which we see differs from the frame imposed on us in photography where ‘the frame … is as much a psychological container for the artist as the room in which he stands is for the viewer… the frame acts like a grid,’ in this way the image is framed automatically and requires no external framing.
In this bleached context ‘art exists in a kind of eternity of display, and though there is lots of "period" (late modern), there is no time’ and indeed the same can be said of my images; there are periodical clues in the architecture and even perhaps the fact they are colour images, but there is no real sense of time. The movement in the images comes from the strength of the lines, and flicks about inside the frame eternally; there is movement but no time.
Early in the project in a tutorial with Regina Šulskyte I was asked why I had taken the images I had. At that stage I had given little real thought to why and was motivated more by a general pleasing aesthetic. The images can be looked at in terms of what Augé would refer to as place or non-place. Most of the images are non-places i.e. are not born by means of cultural development but a functionality. The fact that many of the sites are abandoned however, takes the images outside the realms of place and non-place as they are no longer functional and this redundancy renders them often simply as nothing more than a location. To this end they become an abstraction based around the idea of place and location, as Shaun put it in an email about my work, ‘by combining the two, you change each image - it becomes less and less about the sense of place, both geographical and in terms of the past/memory, it becomes about the dialogue between the two.’ What the images have become through pairing is a display of the kind of movement more commonly associated with painting or poetry where ‘there is a sense of flux… because no one aspect of the image settles.’