Thursday, 22 November 2018

Brighton PhotoBiennial 26-8 October 2018


FRIDAY

Revisiting Brighton again I wandered down the backstreets and found Le Roy art gallery with this painting outside – Crime Scene do not enter taped across it and a pair of sunglasses hung on a piece of string – strange…………….., then some more graffiti – a bit different but then things are a bit different in Brighton!


Met up with the rest of the group:

Photo Fringe Hub Phoenix Brighton

Time, Dilated - London Alternative Photography Collective

LAPC’s pinhole solargraphy caught my eye, especially as I have been following Karen’s BoW which included experiments with a pinhole can. We tried to debate how these images had been achieved as there were swirls in some of the images. By looking at the information board I photographed I can see that each photographer used different methods – the figure of 8 one for example was made by exposing over 365 days but with a mechanical shutter giving a few times each day for one minute only. The curve is made by the Earth’s elliptical orbit around the sun. Note information is necessary sometimes.

Another way of displaying work – this time in a concertina wave.


Dissolved in a constant state of flux like realities in a dream - New Grounds

Deconstruction with Walter in Galleria Umberto 1. The way in which this image was displayed was what really interested me as I am looking at ideas for my exhibition. It was made up of a series of acetate layers through to a main image at the rear with space between.


The Shetland Project 2018 – Map6
We were lucky to meet Phil Le Gal (webpage) who explained to us how he made the photographs so that you could see a person coming and going. The photographs do not really do the images justice. Looking at the info on the website I find that his work focuses on the consequences of geography and of globalisation – a subject that is part of my L3 work.

Names not noted
Unsure who took and made these tree images but it was how they were displayed that caught my eye – all square images on rectangular blocks some with gold/silver/copper foil at the edge.

This one covering the head with bullion knots reminded me of the embroidery I used to do but haven’t the time any more. The flower girl is there in body but absent in mind.


A banner of pixels to show how many refugees have died trying to cross the channel and at what point of the crossing it happened. Very evocative, displayed on a scroll.


A page in a book by Cecil Sharp – text in work is a subject I am evaluating for my book.


Northing Rhymes with Orange – Nick Holyman
Trump protest march – an example of activism which is part of my CS references.


Form

This work reminded me of Hiroshi Sugimoto’s work I saw at Arles a few years ago of brightly coloured shades printed on silk and draped around mannequins. I also wish to print on alternative materials at some stage but this form will not be suitable for my BoW as it is too soft.


Regency House
Over the Hill with Tim Andrews

Tim Andrews explained to us how the project came about and that he had been photographed naked hundreds of times by different photographers. I was surprised to see members of the Inside the Outside Collective had taken part. Their work is not normally portraiture and it was enlightening to see how they had combined their own styles into the images. Will be visiting their exhibition in Birmingham in December.

Samin Ahmadzadeh – Handwoven faces on birch wood ply
Although I find memories very difficult to deal with I find Samin’s work fascinating especially as a way of displaying family memories.


We then retired to the pub with Tim. Jayne had managed to reserve us some tables so we could sit together, very good for a Friday night.

SATURDAY

BRIGHTON PHOTOWORKS GUIDED TOUR – LYNN AND LISA


University Of Brighton
Émeric Lhuisset – L’Autre Rive

He uses unfixed cyanotypes to tell the stories of multiple generations who have migrated to Europe. Lynn advised us that the images have changed to dark blue over the course of the exhibition and it was difficult to make out the shapes on the material. However we did notice that our automatic camera settings did render the images. I have attempted to portray the images below as I saw them.

Tereza Červeňová - June

She has two completely different sets of work. One that is attached to the space only fixed at the top by a piece of wood and left to hang and then a series of pages stapled together with a place and a date but no more information.



Bill Brandt – The English at Home 1936
We did not really have time to look at his work so I just took pictures of the exhibition quickly.

Cross Channel Photographic Mission
Works by 9 photographers to explore the landscape and communities in France relating to Channel Tunnel construction 1987-96

Lewis Baltz – Ronde de Nuit

Data centres, technological systems and police surveillance images from Roubaix revealing a dehumanised reality in collaboration with writer Olivier Boissières. A checklist of words related to the world of surveillance is part of this project. CCTV and the way it is used is part of my CS research but now not so important.

Jean-Louis Garnell – Construction Site, Boring the Channel Tunnell 1988
We spent some time wondering what the significance of the No 49 was until we read the info – 49 billion francs 1988.


Artist not noted

This reminded me of my ‘dead-end’ stage of BoW – the construction site! What Lisa and I also noted was the height of the info sheet. We realised that it should be away from the images but it was quite low and I personally found it difficult to read with varifocal lenses – note where info sheet is!


Fabiana Figueiredo – Migrances 2002-5

I took this shot to show how the images are displayed.


Michel Butor Untitled 1988

I took this picture to show how text and an image can be displayed as I am looking into this in my work.

Why are we Leaving – A Youth Photography club project
Text plays an important part in my BoW project and these images resonated, even though they are about Brexit they could also be about neoliberalism and gentrification.



Jubilee Library

Heather Agyepong – Habitus: Potential Realities
Her images were either draped over stands in the main library or attached to the windows. I do not think the way they were displayed did them justice.


29 Sydney Street
Robin Maddock – Northing We Can’t Fix by Running Away
A funny exhibition – on the ground floor the pictures were mixed up and in no particular order so you could not follow a narrative. Downstairs I found a few to look at.



The Beach

Shooting session on the beach

I am afraid I was not inspired except for this – a seagull being king of the castle. I spent more time photographing the changing west pier for my own personal use the next day.



Donovan Wylie – The Lighthouse
I came across Donovan whilst studying Landscape but this was different. It was under the arch and dark – when your eyes adjusted you could just see the lighthouse.


Fabrica

Harley Weir – Homes
Fabrica was completely different in daylight. Last time it was very dark. The hangings on a type of sheeting (awning?) showed everyday items such as toothpaste. Books were placed on plinths around the room. Her book What makes a home? Response 31 was on a sort of textured stiff material which you could print on– thinking about cover or text pages for my book??


SUNDAY
Les Monaghan’s Work on the Beach next to i360 tower

It was great to see Les again and here about his project with the homeless in Brighton. Also for me to see how the outside boards and work was displayed. It is ironic that his work about the homeless is displayed alongside an expensive tourist attraction to which the council contributed and which is loss making.

Opposite Les’s work was more picturesque less thought provoking images.


Critique

There were 13 of us for the critique session. Instead of splitting into groups we became one which meant there was less time. I went first with my book which Karen kindly turned the pages for me. In hindsight I probably should have just bought the 12 images I selected for a presentation submission to Redeye instead. 7 minutes was not really enough time for the amount I showed. However I was able to get some really good feedback – Text needed to be in front of the images – one page had the writing back to front so it was on the left hand page. I hadn’t managed to do the artist statement at the back before I went. However the group felt they needed some information about the work before they came to the writing and the images so that is something for me to think about.

OVERALL
Well organised and really good weekend which has given me lots to think about in my work.

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