The gallery is one space in the town or city which “can break the circuit, arrest the flow, by encouraging us to contemplate a still, or at least a slow, image.”

The subject of photographs as art, photographs in galleries, photographs as having monetary value, photographs as replicable objects etc. continues to be brought under scrutiny.  It is evidence for me of the sheer speed of photography’s spread and capabilities as a technology.  Continue reading

Reflections on some difficult material

The capabilities of the camera are broad and include the possibility of  human beings making photographic images of other human beings during suffering, and near or after the point of death.  The issue of such difficult material was discussed last week.  I am very sensitive to it, and my sensitivity is heightened at at the present time of illness.  It is never easy to consider such themes. Continue reading

Justine Khamara: “If my work could inspire anything I would hope that it might be a moment’s silence”

Justine Khamara takes two dimensional photographs which she hand-cuts to use in the construction of sculptural, three dimensional forms.  Her work adopts a variety of approaches from garbled shredded faces to dreamlike masses of arms that appear as if they might move.  It is the spherical portraits that I found particularly engaging, entitled ‘Now I am a radiant people’ (2011). The ‘scales’ that cover the surface of the spheres appear at first almost creature-like, as if each ball might unfurl and slink away; or perhaps they are huge pinecones fallen to the ground, waiting to open and seed.  It is not until closer inspection that one realises they are constructed from a rhythm of tiny human portraits, changing scale, giving the impression of a living, expanding thing; they appear to be animal, plant and human all at once.

Continue reading