I had not initially intended to frame my work; I have discussed at length the panoramic border, which is in itself a frame. However, I was not allocated a space until I dropped my work off a week before it was shown and as such thought it would be safe to frame the work. Like much of the progress in this project I was pleasantly surprised with something I felt was out of my control; the black frame I used compliments the images’ borders without being too heavy handed in its reflection of them.
2010. október 3., vasárnap
Magdalen Street Celebration Exhibition
When I dropped my work off I was able to choose a space; a rectangular annex room, about 10ft x 3ft with a window at one end, roughly A4 size. The room is in a semi-derelict state. It has gallery-ness (it has been painted white and has a framed piece of work in it) but it retains the feeling of a post-functional space. It is neither a gallery space, nor a room and this state of flux becomes a metaphor for Anglia Square itself.
One reason I was apprehensive about using a frame is that I often feel frames are with the work and not part of it, but here the frame not only complements the photographs’ borders but the glass also acts as a catalyst for the potential reading of the images as reflections. The window, which is opposite the frame, both literally and figuratively reflects the overlapped images; the outcome is one of duplicity and layers.
Another layer, or indeed series of layers, is present in the sound-map created by Mike Saunders which is playing simultaneously through speakers and headphones. This has the desired affect in-situ which I had hoped for: blurring the distinction between naturally occurring noises from the outside world with the carefully mapped audio arrangement. The presence of the sound-map and the window provide the reader with options as to how they choose to read the work; whether or not to wear the headphones, whether or not to look through the window and if so, from which side?
The fact that the images are printed on standard 6x4 paper and that they are mounted using photo corners gives them an ephemeral quality which acts as a doorway to the theme of memory but not to a specific or personal memory. Both the images and the audio play with each other, are fragments of context arranged in a para-surrealist manner to optimise the space for subjective readings for the viewer. The layers of sound and image become the strands in the diagram I previously referenced by John Berger representing the non-unilinear process of memory.