What we already know

Broken Tree, 2011

In What we already know, I was interested in how the disorganisation of vision resulted in an uncanny space imbued with anxiety; the empty spaces became fictionalised but ‘loaded’ at the same time. Fiction and spatial disorientation became key components of the image’s derealisation. Although this strategy was perhaps rather overt, I now hope to find a more oblique methodology of rendering space via practice. Anthony Vidler states, following Hubert Damisch, that the distortion of perspectival space in both architecture and visual representation, is a form of reflexively marking out a process of thinking of space, and a discursive meditation on the place of the subject and the other in space.* A study of vision is thus perhaps a study of the political and ideological implications of urban spaces, and therefore, ultimately a question for practice. Whether it is the arbitrary, fragmented glance or straight but disembodied gaze, the photographic frame is analogous to the fantasy frame that positions subject and other in spatial terms. However, rather than simply controlling the scene, the static, fix(at)ed gaze of the camera perhaps also holds within it the power to turn on the subject and reveal a desire lost within the co-ordinates of visual space.

* Vidler, Anthony. Warped Space: Art, Architecture, and Anxiety in Modern Culture (Mass: MIT Press, 2000). p. 9.

Failing Orbit 5 – Empty Spaces

Wisteria, 2010

Documentary realism, Slavoj Žižek claims, is for those who cannot bear fiction – the excess of fantasy operative in everyday narrative fiction.* What then is this ‘excess of fantasy’ when we look at the empty and fictional spaces of contemporary documentary practice? The familiar spaces of documentary landscape (such as peripheral zones of trade, military training grounds, urban and suburban dwellings, etc.) all raise questions, in equal measure, for both the cultural realities they depict and the unconscious fantasies of the subjective witness. 

Both geography and identity are bound up in reflexive processes of documentary and history. A fragmentary view of the landscape, pitted by trauma and desire, has displaced the traditional sweeping panorama’s rhetoric of discovery, unity and completeness. Contemporary photography now transcribes a more uncertain experience of being in the world; vernacular and banal non-spaces, imagined territories and fictional places, present a topography that is impossible to know. A world of illusion, duplication, control and power, generates an ambiguity in the position of the viewer and a tension between space and subject. 

The use of photography to map spatial co-ordinates, in turn reinvents the world as commodity. Such documents offer fantasies of emptiness, but themselves becoming objects of reduction, reproduction, redistribution and reinvestigation. There is an uncanny emptiness hidden within the reflexive act of transcribing ‘place’ into ‘document’ – there is always something that gets lost in translation. It is perhaps this ‘gap’ that haunts the spaces of the 21st century; an echo of the ghost at the heart of subjectivity that refuses to reconcile itself with its own geography.

* Žižek, Slavoj. The Parallax View (Mass.: MIT Press, 2009). p. 350.

Failing Orbit 4 – Documentary

Lunch Box, 2011

The obvious effects of the economic climate are now readily visible. However, I have become fascinated by how such effects are transcribed photographically; what does the surface tell us about that which lies beyond it? This has long been a problem for photography; it is adept at capturing everyday detail, but the photographic image presents the surface of the world that, ultimately, keeps complexity at a distance. The large-format camera is complicit in this; its control over the field, focus, perspective, etc; mounted on its tripod, it stands above and apart, from the space it surveys.

Documentary has traditionally presented the symbolic, ravaged fabric of economic crisis; derelict buildings, the homeless figure, etc; the effects that belie the true causes of such victimisation. There is an inability (or unwillingness) of the visual to penetrate the symbolic violence of late capitalism. Rather, it dwells in front of the spectacle, supports and promotes such ideologies; does not every image of the homeless call for that sad figure to be fully reintegrated back into a system that cast him/her as a victim in the first place? 

Walking around this landscape, one finds an irrationality more akin to a dream than a physical reality. Thus, here the stage is set for a disorder of a different register; marginalised spaces that are as much a part of the psychological terrain as the geographical or economic. This work does not present the logic of the traditional photo-story. Rather, a narrative that is fractured and fictional - at once a documentary of an economic landscape, and a meditation on the anxieties over occupation and vision. The two are not mutually exclusive.

Scratching at a Solid Surface 2

Empty Flats, 2010

The photographer, rather than entering a particular space, is faced with a non-porous surface. Just as docile bodies can drift through space, so too the gaze glides across its surface; one regularly traverses it without either pausing or looking. Space and photography perhaps share common properties; indeed, both generate anxiety in order that we might move on more quickly – continuously postponing, yet reproducing the co-ordinates of, desire itself. Of course, many photographs are certainly designed not to be looked-at for prolonged periods (e.g. the billboards that pervade public spaces); rather they drift into the milieu of the mass media. So too public spaces also discourage prolonged contemplation, and even outlaw occupation. Both activities, looking at photographs and occupying space, are now seen as perverse and suspicious activities as soon as they become prolonged.

Here then, is the paradox of the act of photography in this instance (the protracted activities of setting up tripods, operating the large format camera, the use of sheet film over continuous shooting, etc.); one not only looks at the framed space for a perverse amount of time, one also draws attention to oneself – and is seen by others. The photographer occupies a place, but this place never appears in the image (the view is always ‘over there’), rather it is located only within the Other’s field-of-vision; one becomes a spectre – one’s own presence as intruder is made clear when one’s look becomes visible or exposed.

Scratching at a Solid Surface 1

Happy Birthday, 2011

Curiously, photographers always remain alien to the site of the shot. Even if they happen to be familiar with the place… the act of taking the photograph turns them into visitors, or even tourists on their own premises. No matter how close a photograph comes to the space it records, the interaction between the photographer and the space always resembles the act of scratching on a solid surface. 

Jan Verwoert, ‘Research and Display: of Transformations of Documentary Practice in Recent Art.’ in Neuerer, G. (ed). Untitled (Experience of Place). (London: Koenig Books, 2003). p. 18. 

One never quite encounters the world, and photography inevitably establishes a peculiar remoteness from it, only ever documenting or transcribing a certain distance. On the rare occasion one comes in close proximity to a place, the experience is inevitably a traumatic one; exposure, claustrophobic or vertiginous spatial disorders aside, contesting histories repeatedly encircle place and twist it into territory. Locality is always something for others; always negotiated on their terms; it is set out before we arrive and continues after we have left. The photographer particularly, a gangly alien landed from outer-space, is only ever an intruder upon private interactions that take place in public. So place is something that one continually orbits, never belonging at its heart – always a piece of the puzzle, but lost somewhere in space.