Gallery category archives: PHOTOGRAPHY

  • PINHOLE

  • Pinhole Project – time lapse exposures on light sensitive photographic paper –

    A Film in One Frame

    I met Laurence Edwards on a whim after prising his email address from Messums Gallery in Cork Street shortly after moving from Sydney to London. His generosity was immediately evident in the way he welcomed me and fellow artist Harrie Fasher at Butley Foundry and later, his studio.

    This artistic connection has developed as steadily as my scattered pinhole cameras bear witness to the developing sculptures in the studio. Figures growing out of sheets of green wax. Features forming out of the lumps of clay supported by welded armatures. The history of this time based process is evident in the delicate patina of silver in the light sensitive paper emulsion.

    The cameras, in excess of fifteen range from sweet tins, shoe boxes, cake tins and small Camera Obscuras, and more recently to old Box Brownies with lens wide open. I fix many ‘exposing units’ to metal beams in the welding shed with strong magnets. The exposures range from 30 minutes to three weeks and longer. Some are set high up and others at precarious compositional places. Through trial and error a visual language is developing and continuing to do so.

    His sculptures capture my imagination. In response, my aim is to visually grasp the studio and its contents, which are predominantly static, and through time, infusing the presence of the working artist through the act of creating. And so, impregnating the image with a tangible presence and energy which cannot be seen, but felt.

    Currently there are exposures which will be examined after six months.

    Laura Ellenberger 2016

  • CYANOTYPES

  • These photographs are a collaboration with an artist friend exploring movement and physical tension while also leaning towards portraiture. At the route of these images is a glimpse of the idealised Greek figure. The active naked (male) body of Ancient Greek Olympics here has a female surface, and then a soft feminine veil. The stop motion as seen in Eadweard Muybridge’s ‘Animals in Motion’ has an opposite effect as in these images the fragmentation activates the considered still forms, poised, muscles tensed. These images are also influenced by the poetic quality of Rodin’s sculptures and their internal life reflected and translated by the language of their bodies. The disrupted surface and fragmented image adds another layer to the surface and challenges how we expect to see the female body.