Untitled diptychs, from the series 'Everything That Comes Before Us', Circa 1940-2012
Analogue Photography, Portrait, Analogue, 50.8x40.6cm
Everything that comes before us is a visual attempt to highlight the space between what is seen and what is imagined - a comment on the relationship between memory, voyeurism, photography and our historical imagination.
In each photographic diptych two images are paired: one is a found photographic image taken by an unknown photographer, the other is an image I have taken. These photographs have been collected and paired to form a creative dialogue between past and present.
The older photographs, and in particular their ‘anonymous’ and ‘found’ qualities, blur and call into question essentialised notions of authorship and origins. They have been appropriated with the explicit intention of challenging the idea that meanings are to be found in images themselves. The aim is to prompt the contemplation of collective memory and the process of rethinking. By exhibiting these disregarded or lost images, their connotations change and new interpretations are created. This work is an active collaboration with the past, indeed a re-imagination of that past. This work aims to capture the co-existence and articulation of old and new. The photographs keep the silence of the monument, the silence of the lost object and the silence of being unable to communicate with those I was photographing. These are my observations of how generations move with change - everything that comes before us.
In each photographic diptych two images are paired: one is a found photographic image taken by an unknown photographer, the other is an image I have taken. These photographs have been collected and paired to form a creative dialogue between past and present.
The older photographs, and in particular their ‘anonymous’ and ‘found’ qualities, blur and call into question essentialised notions of authorship and origins. They have been appropriated with the explicit intention of challenging the idea that meanings are to be found in images themselves. The aim is to prompt the contemplation of collective memory and the process of rethinking. By exhibiting these disregarded or lost images, their connotations change and new interpretations are created. This work is an active collaboration with the past, indeed a re-imagination of that past. This work aims to capture the co-existence and articulation of old and new. The photographs keep the silence of the monument, the silence of the lost object and the silence of being unable to communicate with those I was photographing. These are my observations of how generations move with change - everything that comes before us.
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