![]() It is time to stop working in isolation but my dialog with history will never end. With the launch of Rebecca, I’m now entering a new phase in my artistic life, one which is no longer isolated. That journey is the very reason I’m making the decision to stop this blog. I’ve said before and I’ll say again any success I have relates back to this blog on a-n. I have been writing this blog for a year and half or so and it is about one year ago I participated in my first group exhibition with Core Gallery which marked the beginning of a fruitful journey out of isolation, one which I’m still on I’m happy to say a journey made possible by Artists Talking. It is with these thoughts that I have decided to stop. It signals not an end but the wholeness of something. The completion of something is an important boundary it contains the statement that anything more would be superfluous, unnecessary and an annoyance running the risk of ruining all that came before. He found it significant and I had to agree. Each child was painting a picture, he noticed his son reached a point and stopped while the other kids just kept painting until they were told to stop. An artist friend back in The States told me once that he observed his child in a group of other children during a painting workshop for kids. I’ve always felt the artist’s ability to know when to stop an intriguing thing and one of the signals in defining an artist, although I know some artists do struggle with knowing when to stop. Available through: Anglia Ruskin University Library. Currently, the archive gallery pictured here initiates a further crossing of boundaries where one image ‘bleeds’ into the one below it creating a visual infraction against the gridded structure provided by the template. This initiated a queasy uncertainty of space on the screen. Inserting further iterations of the screenshot imagery collapsed the image placement hierarchy within the site, where background image from the current Pictorico site was mirrored in the screenshot image of the previous Pictorico site for Phantom. This situated one Pictorico blog inside another one, creating reflexive striations of replication-like one mirror reflecting another. We are at a moment, I believe, when our experience of the world is less that of a long life developing through time than that of a network that connects points and intersects with its own skein.įor again or again and again, I used screenshot photography to capture the imagery juxtapositions created by the Pictorico template used during the Phantom project. We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. The present epoch will perhaps be above all the epoch of space. Therefore, the space of these images is neither photographic nor cinematic-the space is virtual, with temporal disruptions, cascading fluid repetitions, spatial displacements and isometric geometries. It only means that I created examples of what these changes might look like. ![]() The fact that I created imagery exemplifying these kinds of alterations, does not mean that I actually succeeded in visualising the transformations. The latter was perhaps the most challenging, because these transformations would not be visible-could not be made visible they would remain in a latent state. And also, to understand how objects were being transformed by these processes. ![]() Instead, my purpose was to explore how seeing was transformed in real time and to understand how my own process of looking maps onto unknown cultural objects. The process of making alterations to the imagery from the Museum was never intended as ironic or to be taken as institutional critique. Using my mobile phone, like so many other visitors to museums these days, I photographed works that ‘pulled me in’ through an intuitive act of looking. In 2018 I was given access to The Fitzwilliam Museum Collections for a year-long research residency. The final exhibition for my PhD has its own page at The Expanded Mirror on this site. All of the images within these online exhibitions are my own and represent work from projects in my portfolio. This page offers a visual record of the exhibitions on this site.
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