John Smith writing on Nicephore Niepce [example]

first-photograph-heliograph-joseph-nicephore-niepceA sophisticated and interesting project that succeeds in not taking itself too seriously while engaging with serious and complex issues. While windows and reflections is perhaps the oldest motive in photography, this project brings a fresh perspective on the window as the paradigmatic technological image. The success of this work is in balancing the representational qualities of photography with its concrete materiality, creating a vibrating tension between depiction of the window as an image and the installation of the image as a material event.   Work we see here progresses way beyond the heterotopic/ liminal embedding of earlier works and succeeds in an audacious yet entirely natural progression/unwrapping to again refer to materiality of the original object, it’s ‘concealment’ as John describes; yet it already belongs to the wall gallery space, the decision to mount on tiny wood plinths does indeed re confirm that. Bringing the objects back into ‘art’. The photograph is toyed with expertly and now one wonders about a view from the inside as well. is perhaps the oldest motive in photography, this project brings a fresh perspective on the window as the paradigmatic technological image. The success of this work is in balancing the representational qualities of photography with its concrete materiality, creating a vibrating tension between depiction of the window as an image and the installation of the image as a material event.  Moving and powerful series of that, via various templates, from photography Painting, intuitive observation, and an over-riding sense of disclosure, offer the audience a sense of a life and it’s current difficulties. After watching the loop for a while one begins to question the authorship of the images themselves, sometimes a sense of super ego is present, a gaze that inevitably offers you up for correction and comparison and is also prescient at the same time. The display is offers a commitment and immersion via performance pieces for one self, that, like the projection piece, synthesize the day to day embryo sourcing, blood tests, love and disappointment, eating and sleeping. The viewer loses reference points in their observation never quite knowing what is performed, what is not, but ultimately it doesn’t matter as the message is carried via the audience’s willingness to comprehend the emotional and psychological index you present.

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