Photos: BA8 Miscellaneous Photographs
by Beauchamp Art
Photo in a mirror of a camera lens reflecting the mirror showing the photographer. This was taken as an example of a portrait through the uses of a representational object, and was shown on the camera’s screen as part of a workshop activity.
Photograph using the Pause video as material for projection onto Bryony’s face (who also was photographed alongside my Degree Show installation to give a sense of scale and interaction within the space).
A mild disruption and misuse of safety signs creating a moment of slippage in the scenery, that which is being warned against in the sign is being reflected by its deliberate misplacement.
Self portrait looking sternly into the middle distance, with an abundance of negative space filling half of the image, as if conversation with no one in particular. This was a taken as an ongoing document of the passage of time evidence by my changing face, and a general reluctance to be photographed seriously in any context besides my own, as well as an exercise in more traditional modes of photography, making the colours of the head match the blues, greens and whites of the shirt. The title is a play on a less commonly used term for self-portrait.
This photograph depicts part of a torn post-it not attached to a piece of paper that had been serving as a book air for some time, with other sticky notes being used and reused, this one has remained firm attached to the back of the pad, and has thus followed me through a great number of words over the recent months (or is at leas symbolic of such an archiving of written materials through quotations).
Given the prolific levels of this sort of luminescent green colour throughout this project, in EchoReFlex, Twenty-Four Hour Delirium Rhythm, Hi-Vis Green-Screen, I took note of a number of objects that maintain a similar hue.
These grubby disposable ear plugs have been worn to numerous occasion featuring excessive levels of sound, and have stood as a barricade between my inner ear and seemingly inevitable deafness. Given my interest in looking “directly at the noise, not past it.” [Kahn, 1999: 28], then these seemed a poetic pair of objects. The enable a censorship of the exterior soundscape in favour of the inner works of the body, amplifying the breathing, pulsing, grinding sounds of the living being, as well as foregrounding “the impossibility of silence and the pervasiveness of music” [Kahn, 1999: 191]. As someone who suffers from intermittent tinnitus and for whom noise is inescapable, I know the sound of silence is deifying, the reverberation of the unsaid, the unheard, can be fair greater than the punctuation of the airwaves by solitary voices.
Kahn, D. (1999) Noise Water Meat: History of Sound in the Arts. Cambridge: MIT Press.