by Beauchamp Art
Collaboration with Cecily Boon.
A real spider had taken up residence in Cecily Boon’s artificial moss sculpture, Tillandsia Usneoides, as part of her MOLD exhibition.
Here, the artificial reality of the material ascertained an organic reality through the occupation of a neutral, non-human perspective. For the fooled spider, this is truly a triumph of the simulacrum; the simulation is reabsorbed back into nature by its arachnid occupation.
This photograph shows a self-portrait, which was primarily done as a lighting and colour test. Although could be seen as a observation of mediation; the figure is turned away from the camera, as if ignoring it, despite the impossibility of them not being aware of its presence, whilst looking a window, partially covered by the strips of the blinds with curtain pulled back, a near-reveal. (However, these blinds are not casting strong shadows, like those in Eric Fischl’s Bad Boy, where the piercing light reflects the symbolism of the exposed figure, who is ignorant of the young figure across from them, who sinks his hand into a darkened bag, set adjacent a bowl of fruit, with desires oppressed and sensations on a knife-edge. Nevertheless, the symbolic potential of the concealed window is an image I may return to more overtly later.)
Fluorescent tube bi-polarity; one half warm, the other cold.
Photograph of the overhead lights in the Project room, which where illuminating the room with two colours of light, neither white, but forming a neutral ambience. This was taken at a low exposure so that the detail of the light could be seen, with the colours only slightly enhanced in post-production. The more cropped image looses form by the elimination of the surrounding environmental context, thus becoming a more structrualist composition.
This photograph depicts an illusion in a glass of water, a particularly pleasing observation of everyday optical oddness.
This shows a re-photographed circuit board from the Gifted City series, and was an experiment for a potential future series of photographs, furthing the dialogue between the user, the interface, and the physical machine hardware, commenting on the materiality of the digital image.