The photographic and moving imagery presented in Surveyor navigates a collection of sculptural formations in a fictional landscape.
The forms within these images reference architectural motifs and organic formations. Monumental and futuristic structures are juxtaposed with the suggestion of entropy and forms that allude to the relic. The possibility of animation contrasts to a sense of stillness and isolation. Such divergent attributes assist with promoting uncertainty and ambiguity, a central objective for the work.
The camera mediates our experience of the sculptural forms through photographic and filmic methodologies, such as lighting, scale, depth of field, limitation of information and camera movement. Photography’s innate ability to be both illusive and evidential promotes the inability to draw a fixed conclusion and oscillation between recognition and estrangement. Within the content of imagery scale is frequently uncertain and depth of field is utilised to conceal information. Light and shadow is employed to manipulate surface, obscure detail, direct our focus and create atmosphere. The sculptural forms are created in the studio using a variety of materials and casting processes.
Each form is presented for examination as if it was on a stage, awaiting an action to unfold suggesting the notion that “objects are not inert and mute but they tell stories and describe trajectories”1. This idea is emphasised by examining connections between the forms in the series, promoting fluid associations and suggesting evidence of past interaction.
This project was greatly impacted by my residency experiences in Iceland and Finland in October and November 2011. Immersion in natural environments so different to my everyday landscape initiated my investigation into referencing the natural formations and researching old-world expeditions into unknown territory. Other areas of research that have informed this project include sensory design in architecture and the relationship between tactility and the photographic image.
Jacqueline Ball
1. Marks, U, Laura. The Skin Of Film: Intercultural cinema, embodiment and the Senses. (London: Duke Univeristy Press, 2000) 80.
This exhibition was kindly sponsored by IMAGELAB
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- TURNER GALLERIES | showcasing contemporary art
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