At the weekend, I was up in London to see my son’s preview show for the Edinburgh fringe and took the opportunity to visit a couple of exhibitions at the same time. The first was at the Photographers’ Gallery and was the New Talent 19 exhibit on the top floor. I was interested to see what sort of work appeals to the artistic gatekeepers this year. Eight photographers had been selected from an initial entry of over 1000, and the criteria for entry were very wide and inclusive. Basically, if you hadn’t had a significant solo exhibition already, you could enter, and it was free to do so. The work on show had a great deal of variety, but at least four of the photographers were working well outside the traditional boundaries of what one might call straight photography. Naturally, these were the ones that interested me.
Alberto Feijóo is interested in the whole photographic medium, from collector to producer, but is particularly fascinated by the biography of objects and 3D representations. By 3D, I mean constructed maquettes and handmade sculptures alongside complex collages (which are not that easy to deconstruct, mentally). His explanation and some images for his series Free Acid can be found in a pdf, here. I was most struck by the maquette, which produced a very different viewpoint of the work, and which is an idea I may come back to later.
Chiara Avagliano produced a series called Val Paradiso and combined ‘photography, poetics, text and objects’ which referenced life in a magical valley in northern Italy which was similar to where she had lived as a child. The series looked at make-believe and children’s magical-realistic approach to the world and how memories are made which might not be truly real, but which encapsulate the experience of childhood. I thought it was great, and particularly the sculptures of the lake and building, as shown below. There was a resonance back to her childhood that one could clearly feel.
Giovanna Petrocchi is another lens-based multimedia artist. A winner of the Lensculture Emerging Talent Award in 2017, her work combines collage, found images and 3D printed objects to look at virtual reality and ancient cross cultural cultures and symbols. It is difficult to explain coherently, and her website gives much better information, so it is best to look there. However, of the three series on show, this work Modular Artefacts, Mammoth Remains, and Private Collection, only the last is listed in her online catalogue of work.
Last, but very much not least was my own favourite, Seungwon Jung’s Memories Full of Forgetting. Her minimalist images of landscapes, which were printed on fabric and then partially deconstructed and reworked were both absolutely beautiful and technically breathtaking. The empty spaces in her work are just as important as the printed areas, both as an expression of fading memories and as sculptural elements which add enormously to the visual effect. Simple patterns were carefully draped to include two flat areas and a panel of partially deconstructed fabric which had a gloriously sumptuous glitch effect. There was much to think about with regard to my own explorations of fading memories and empty spaces in images.
The other four entries were more traditional documentary style and of less interest to my current work, so I shall leave them for now. Overall, the move away from vanilla photography compared to a few years ago is marked, and many of these works were truly multi-media, combining sculpture, collage, sound and writing with photography to give a much deeper sensory experience.
After this, I went to St James to view the MA exhibition of a student from Falmouth University, Megan Ringrose. She had somehow managed to secure a pop-up exhibition space in Masons’ Yard, right next to the White Cube (which was showing some HUGE Jeff Wall images). Megan was there and was able to show me round herself, which was a bonus. Her background is in fashion photography and she told me that the MA had been pivotal in her personal work moving away from the studio and towards highly abstract pieces, based on Flusser’s idea on experimental photography, which were outlined by Lenot (2017).
Megan has taken brightly coloured pieces of paper and folded them in complex shapes, adding cyanotypes at each step of the process. When unfolded on completion, the images combine shadows and lighter areas in a complex geometric interplay which invites the viewer to contemplate. She is interested both in the concept of cameraless image and also duration, as the process is slow and paced, very unlike than her commercial work. It was fascinating to talk to her, as we not only had several acquaintances in common, but we also shared an obsession with materiality and had read many of the same theorists. I will definitely be looking out for her in future.
Overall, the day was very interesting, with lots of think about in relation to my own practice and I came away with my head brimming full of half formed ideas about my next assignment.
Feijóo, A. (2019) Free Acid: a work in progress. [online] At: https://docs.wixstatic.com/ugd/26dd9f_e4e9b15cfd0848e59f0fe8983594eb9c.pdf (Accessed on 29 July 2019)
Lenot, M. (2017) “Flusser and Photographers, Photographers and Flusser.” Flusser Studies , 24. At:http://www.flusserstudies.net/sites/www.flusserstudies.net/files/media/attachments/marc-lenot-flusser-photographers-photographers-flusser.pdf (Accessed on 29 July 2019)