Photos: Lizzie & Nicole Stew Performance

by Beauchamp Art

Lizze & Nicole Stew Performance - 15

Lizzie & Nicole Stew Performance

These images document a performance by Lizzie Loughran & Nicole Hudson’s at the Stew Gallery, in which the two figures responded to an audio track reading out a series of phrases, to which they responded with action. I believe this performance was organised by Lizzie, though was undertaken as a collaboration, especially given that this series follows on from the documentation of the Hear the Sound, Become the Sculpture performance, which featured as part of the same exhibition.

Unlike the vibrant colours of the previous performance, this featured the two individuals clad in black and white, primarily against a white background and a mall crowd (of nearly exclusively caucasian faces), I therefore decided to be more experimental with the colours. The white balance was initially neutralised, before modifying the palette to enhance the orange tones in the series, this was designed to be in support of the tonality in the surrounding artworks, but also distinguish the flesh tones from the walls.

Lizzie & Nicole Stew Performance Panorama

Lizzie & Nicole Stew Performance Panorama

As the performance was also being filmed, I felt more comfortable to eland on my role as photographer from just being another spectator who’s gaze was being capture through a camera, but to make evident the framing of the images, both in terms of cropping, and subtly foe grounding the act of mediation, to take the photographs further whilst not undermining the primary job I was there to do. As with most of the events I have attended recently, most members of the audience act as their own archiver, utilise the camera functions of their smart phones, so simple pictures were not required, they were more than abundant, my function was to find a definitive perspective.

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Alongside the standard photographs, I also included a panoramic stitch of the event, although as this generated automatically using software associated with the camera, rather than manually collating the images, the panorama was not perfectly fluid, and the two sections either side of the plinth where inconsistently place. Not having use of a tripod also hindered a smooth rotary aesthetic. But as this was a bonus image, it was not of any major concern. The performance itself was captivating enough as a subject, echoing the bizarre rituals of everyday actions infused with a dance-like choreography set to an inconsistent rhythm.

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