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Touched, 2016
archival pigment print in artist frame burnished with graphite
29.5 x 33.5 x 3 cm
edition of 5 + 1 AP
-
Private collections:
Belgium, The Netherlands, London
-
A photographic self-portrait depicting my left hand covered with graphite powder. The black and white print is float-mounted in an oak box frame, which has been burnished with graphite to a reflective sheen. This piece exemplifies how, throughout my early work, I sought to implicate the agency of my body within processes of making, and build relationships between images, objects, materials, technical application, and means of display. The work’s title references foundational photographic theory that conceptualised the photographic image as a kind of touching – an indexical trace of its subject.*
*Doane, M., 2007. The Indexical and the Concept of Medium Specificity. differences, 18(1), pp.128-152
Geimer, P., 2007. Image as Trace: Speculations about an Undead Paradigm. differences, 18(1), pp.7-28
Green, D. & Lowry, J. 2003. ‘From Presence to the Performative: Rethinking Photographic Indexicality’, in Green, D. (ed) Where is the Photograph? Maidstone: Photoworks pp.47-60
-
Extract of studio journal:
I am compelled
by the notion of
a causal relationship
between the photographic object
and its subject
light reflected from the subject
passes through the camera apparatus and
caresses light-sensitive material
leaving a physical, visual trace
-
Exhibition history:
Desire Works (2017) [solo exhibition]. Project 78 Gallery, St Leonards by sea, UK. 22 April - 13 May
Ain’t Nothing Like The Real Thing (2021). [solo exhibition] Stephane Simoens Contemporary Fine Art, Knokke-Heist, Belgium. 20th May - 4th July
29.5 x 33.5 x 3 cm
edition of 5 + 1 AP
-
Private collections:
Belgium, The Netherlands, London
-
A photographic self-portrait depicting my left hand covered with graphite powder. The black and white print is float-mounted in an oak box frame, which has been burnished with graphite to a reflective sheen. This piece exemplifies how, throughout my early work, I sought to implicate the agency of my body within processes of making, and build relationships between images, objects, materials, technical application, and means of display. The work’s title references foundational photographic theory that conceptualised the photographic image as a kind of touching – an indexical trace of its subject.*
*Doane, M., 2007. The Indexical and the Concept of Medium Specificity. differences, 18(1), pp.128-152
Geimer, P., 2007. Image as Trace: Speculations about an Undead Paradigm. differences, 18(1), pp.7-28
Green, D. & Lowry, J. 2003. ‘From Presence to the Performative: Rethinking Photographic Indexicality’, in Green, D. (ed) Where is the Photograph? Maidstone: Photoworks pp.47-60
-
Extract of studio journal:
I am compelled
by the notion of
a causal relationship
between the photographic object
and its subject
light reflected from the subject
passes through the camera apparatus and
caresses light-sensitive material
leaving a physical, visual trace
-
Exhibition history:
Desire Works (2017) [solo exhibition]. Project 78 Gallery, St Leonards by sea, UK. 22 April - 13 May
Ain’t Nothing Like The Real Thing (2021). [solo exhibition] Stephane Simoens Contemporary Fine Art, Knokke-Heist, Belgium. 20th May - 4th July
Touched (installation view), 2016
archival pigment print in artist frame burnished with graphite
29.5 x 33.5 x 3 cm
edition of 5 + 1 AP
-
Private collections:
Belgium, The Netherlands, London
-
A photographic self-portrait depicting my left hand covered with graphite powder. The black and white print is float-mounted in an oak box frame, which has been burnished with graphite to a reflective sheen. This piece exemplifies how, throughout my early work, I sought to implicate the agency of my body within processes of making, and build relationships between images, objects, materials, technical application, and means of display. The work’s title references foundational photographic theory that conceptualised the photographic image as a kind of touching – an indexical trace of its subject.*
*Doane, M., 2007. The Indexical and the Concept of Medium Specificity. differences, 18(1), pp.128-152
Geimer, P., 2007. Image as Trace: Speculations about an Undead Paradigm. differences, 18(1), pp.7-28
Green, D. & Lowry, J. 2003. ‘From Presence to the Performative: Rethinking Photographic Indexicality’, in Green, D. (ed) Where is the Photograph? Maidstone: Photoworks pp.47-60
-
Extract of studio journal:
I am compelled
by the notion of
a causal relationship
between the photographic object
and its subject
light reflected from the subject
passes through the camera apparatus and
caresses light-sensitive material
leaving a physical, visual trace
-
Exhibition history:
Desire Works (2017) [solo exhibition]. Project 78 Gallery, St Leonards by sea, UK. 22 April - 13 May
Ain’t Nothing Like The Real Thing (2021). [solo exhibition] Stephane Simoens Contemporary Fine Art, Knokke-Heist, Belgium. 20th May - 4th July
29.5 x 33.5 x 3 cm
edition of 5 + 1 AP
-
Private collections:
Belgium, The Netherlands, London
-
A photographic self-portrait depicting my left hand covered with graphite powder. The black and white print is float-mounted in an oak box frame, which has been burnished with graphite to a reflective sheen. This piece exemplifies how, throughout my early work, I sought to implicate the agency of my body within processes of making, and build relationships between images, objects, materials, technical application, and means of display. The work’s title references foundational photographic theory that conceptualised the photographic image as a kind of touching – an indexical trace of its subject.*
*Doane, M., 2007. The Indexical and the Concept of Medium Specificity. differences, 18(1), pp.128-152
Geimer, P., 2007. Image as Trace: Speculations about an Undead Paradigm. differences, 18(1), pp.7-28
Green, D. & Lowry, J. 2003. ‘From Presence to the Performative: Rethinking Photographic Indexicality’, in Green, D. (ed) Where is the Photograph? Maidstone: Photoworks pp.47-60
-
Extract of studio journal:
I am compelled
by the notion of
a causal relationship
between the photographic object
and its subject
light reflected from the subject
passes through the camera apparatus and
caresses light-sensitive material
leaving a physical, visual trace
-
Exhibition history:
Desire Works (2017) [solo exhibition]. Project 78 Gallery, St Leonards by sea, UK. 22 April - 13 May
Ain’t Nothing Like The Real Thing (2021). [solo exhibition] Stephane Simoens Contemporary Fine Art, Knokke-Heist, Belgium. 20th May - 4th July
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