Archive for the ‘Mapping’ Category
Some of the meta themes I’ve worked with in the past.
Perhaps I didn’t state it clearly enough in the first essay, but What I find compelling about photography as an artistic medium is it’s facility as a storytelling medium. To me sketching is analogous to this sensibility, as such much of what I have looked at through the lens, as it were, of photography is the snippets of information, the traces which imply the presence of a greater narrative.
These traces are the basis of a fair chunk of my work to date, I seek out the traces that people leave behind in their daily lives and frame them in a manner which allows extrapolation from any viewer. Obviously I use a photographic vernacular in framing these images, composition, printing techniques, and presentation strategies which are of, or have been co-opted by photographic sensibilities.
When I first began to play with photography as a medium I began with pinhole imagery, speed of vision is something we are very much stuck with, to slow down or to speed up vision is very much the domain of photography, perhaps more-so than just seeking particular lighting.
I’m more interested in exploring things that re-present to me a reality which our senses cannot percieve. The hyper fast, the super slow, the spectrally invisible, these are all of a realm, which is to us, extrasensory, this fascinates me in that I am learning whilst making such images, to perceive the world at large in a different manner to that which my naked senses suggest.
In making use of these photographic and non-human visualities I have, of necessity, experimented extensively with the medium of photography at large, these experiments ranging from learning new printing methods, or the capabilities of different technical modalities (camera’s, lenses, etc), through to physically rebuilding (cheap) digital camera’s in such ways that their descriptive abilities no longer match a nominally human view point.
As I have gathered images, negatives, prints and digital files I have started to see themes which emerge, and which bend under the weight of their neighbors. The intertextual and the semiotic have developed interesting complexities within my archives, and this has fed back into long standing (considerably pre-dating my engagement with the photographic idiom) fascinations with linguistics, language, translation, language, and the persistence of archetypical presentations.
One thing which I have not worked with to any great degree yet (and do not intend to start with now) is photographing people, this is due to the fact that I am intensely aware that to frame something in a photograph is to speak for it, to re-present the thing in a nuanced manner. When I am doing this with a trace that a person has left I am comfortable, because I am not challenging a pre-existing narrative, I am not speaking over something attempting to speak for itself.
However I am aware that when I frame a person photographically, then I speak for them in a manner which is authoritative. This, in and of itself, is not problematic, it is, after all the point of having a photographer at a wedding – however I do not personally seek to make stories of people, nor to have people act out stories for the camera. This aspect of re-presentation is something which I am intensely aware of and is something which I am looking to work more deliberately with at this point.
More amazing google mappage.
I sometimes wonder how we got by before google maps.
Trying something new – I’m putting my artist refs in here – I tend to digitally edit the pics anyhow, and this will probably make retrieval easier. These are from;
The Map as Art: Contemporary Artists Explore Cartography ~ Katharine Harmon (Author)
Publisher: Princeton Architectural Press; 26,5 cm x 23,5 cm edition (September 23, 2009)
Lake trail (top L) Jetty (top R)
Highway Topography (bottom L) Lycian City (bottom R)
I am fascinated by one particular contextual element, which is the compass roses, Until the invention (of the function of) magnetic compasses Most maps in the European world were based on the presupposition that the top of the map (the modern day north of the compass rose) was in fact oriented to the East – the direction that the sun (and of course stars) rose in. In Northern china most maps were oriented south – the direction that summer came from – south being warm, vibrant, and life giving (red) – as opposed to north which was considered to be cold, sterile and life taking (white) – these beliefs are still codified to this day in the practice of Feng Shui.
I spent a while earlier this year trying to work out how to situate a map that I was constructing, and as a response to this I came up with the idea of ‘psychologic north’ being an orientation that is arbitrary and varies from person to person – the view down a valley, the lie of the land, the direction that a loved one lives in – surely these are just as valid to a person who lives on the ground and only navigates by foot as an invisible force that pulls a magnet.
Yumi Janairo Roth
I’m intrigued by the fact that the artist asks people to mark her body with these maps the territory is placed onto her – but she then removes or displaces (by means of a camera) it, archives it, reproduces from that archive and then uses it to ask people to help her to place her body within the map – it’s an interesting re/de territorialisation of both the body and the archive – a bodily detournement after a fashion.
I like this use of the artists body as a canvas for the transcription of a journey into a map, given that his body has been to these places which are “reduced to a simple line” gives that supposedly simple line a far greater degree of semiotic complexity than a mere line on paper would. The map, in this case, has made the journey, rather than just describing it.
I like this work, the idea of mapping that which is invisible, or ineffable appeals to me – it’s also a nice use of materials.