The Consolations of Science explored the nexus between religion and science, looking at the capacity (and I would argue necessity) of science to absorb and engage the human need for symbolic, mystical or religious experience. The baloons are “animated” by the rising heat of the candles that illuminate them.
This is a number of photographs from a series I shot for my honours project at the National Art School in 2009. These were printed up at a meter wide and really I would have liked to see them larger.
Inserting a contrived element into a ‘real’ or existent context causes a collision between the two. I then photograph the accidents this produces. In this way I constrain the tendency to impose a conception onto the scene and instead invite it to reveal something I can’t expect. What I’m attempting is to relieve the photograph of it’s supposed claim to tell the whole truth and nothing but the truth, without abdicating its ability to refer directly to the world. By openly lying to your face, I am hoping we can get beyond the now tedious debate around the artificial nature of the photograph to look into the ambiguous world, at once real and unreal, it is capable of revealing.
This work was made for the first show I ever curated. The show was called No People and you can read the curator’s statement here. Artist Statement for “The Collaboration”: Someone designed the pattern on this wall. Someone painted it. Someone planted these trees. Someone decided what kind of trees and how they should be […]