The piece was a response to the role of nothing in practice.
A starting point was Sugimoto’s long exposures of cinema theatres. The large scale prints reversed ‘the spectators experience…the cinema is dissembled: the function of the building is reversed to show the illusion … of space itself.” 1
By applying the same treatment to a different realm a similar result ensued but with subtle differences. Again the spectators gaze was reversed from the action on the field to the space. But more than that it revealed the contradiction within itself by embodying everything (the full 90 minutes) and nothing (the empty pitch) simultaneously.
The writing of the match report and team details, including substitutions and yellow cards, was an attempt to see further into the nothingness of the picture and the depth behind the surface into the void of a game of football.
The piece was attempting to engage with Flusser’s idea that the apparatus of photography is all pervading and functions semi autonomously. Technical developments in the photographic process enabling fast exposure of moving subjects is regarded as progress. Such developments Flusser would argue are mere functions of the apparatus producing yet more surfaces mimicking the world. Sugimoto’s landscape pictures taken with the front standard moved past the point of infinity and out of or beyond focus, subverted the photographic apparatus and embraced the absurd.
The act of exposing a sensor to all 94 minutes of a game of football was similarly irrational and an attempted subversion of the pre programmed apparatus. The resulting picture of the deserted field with blurred crowd is perhaps a little eire, even ghostly, but is nothing in comparison to the gesture of the empty frame.
1 Bate, D. (2015) Art Photography. Page 128.