Silver Gelatine and Digital Prints (variable)

Measuring light for a one second exposure time, these photographs are subsequently built up over 150 fractions of this.  This repetitious layering all but eliminates the identifying details in facial features. Traces of gesture are however frozen and built up over the course of this roughly half hour interaction and form an image depicting posture and body language. It becomes a record of interaction between artist and sitter as opposed to a portrait of an individual. 

I’ve never been comfortable making portraits and so this process in a way addresses that, removing any pretence, any posing or self consciousness on the part of the sitter. There is no pressure on a final image of the defining frozen moment pursued in the straight process of photographing. Removing the pressure of this outcome changes the progression of the sitting; direction is eliminated following that of where to sit and conversation is free from the necessity of provoking specific visual response.

Outwardly appearing soft or blurred, closer inspection yields a wealth of defined edges comprising the many variances in position which build up the component layers of the image. The aesthetic outcome of this is a sculptural quality, the figure taking on the appearance of a time hewn object. 

The sense of time, shifts in mood and the way these change throughout the sitting are compressed from a linear state to single frame. Although implicit of duration, the sequential order is concealed in the photographs and so any sense of progression from beginning to end is ambiguous. The photographic process acts as a filter, eliminating a greater quantity of information than is retained.