McNamara Gallery, Whanganui

Transcription

1 Naked Light: recent photograms and other camera-less photographs Mark Adams & Areta Wilkinson,,, Anne Ferran [Sydney], Katy Gundesen,, Fiona Pardington 7 December, January, 2013 McNamara Gallery, Whanganui A photograph is an event transformed into an object; the fixing of light in space over time. Photogram: "Objects - opaque and translucent - are placed on light sensitive paper and exposed to light from various sources. The result is a negative: white beneath the opaque objects, grey beneath the translucent objects, and maximum black where the paper was bare." [Beaumont Newhall, 1977] Each is a unique object, there being no negative from which to make multiple prints. The works in this exhibition cover a diverse range of practice including; metaphor developed via layered images linking random and formal elements, or the inclusion of the shadow-generating object as part of the final work. They illustrate the photographers desire to explore aspects of light, space, scale, automatism [revealing elements of the subconscious perhaps..], symbolism, man-made & nature-inspired tracery, and turning an indexical medium to near abstract, Katy Gundesen Journey No. 2, 2012 Photogram, gelatin silver print on fibre based paper 390 x 295 mm Direct light #4, 2011 Gelatin silver print 1245 x 1060 mm

2 #1 #2 #3 #4 Anne Ferran [Sydney] Unititled (net) Photograms, gelatin silver prints 600 x 500 mm $3,875 each New Age: Buddha (Madras) IV, 1997/2003 Unique gelatin silver print 256 x 203 mm $1,750 Katy Gundesen Journey No. 1, 2012 Photogram, gelatin silver print on fibre based paper 390 x 295 mm NO SCAN Areta Wilkinson & Mark Adams Z6460, Z6469, E , Z6481, E Museum of Archaeology and Anthropology, Cambridge, UK, 2010 Cyanotype photograms Exhibited: Eye Catch [ObjectSpace, 2011] NFS

3 Bacillis subtilis, x 252 mm $1,000 Direct light #1, 2011 Gelatin silver print 1060 x 595 mm $850 I made plates by pouring agar medium onto sterilized plexiglass plates. I then inoculated the plates with bacteria (Bacilus Subtilis) or fungi, which I isolated from plants and soil. I sometimes placed and sometimes scattered the inoculating material, in a play on automatism and abstraction I guess. Then I placed a thin plastic sheet (mylar or the like) on the plate and, if it was a small plate, I inverted it so that it could make direct contact with the cibachrome paper beneath the enlarger. If the plate was very large, the fragility of the agar medium made this inversion impossible. As I began working with very large plates I built a glass table that had a mirror beneath it. I Used a slide projector to project filtered light onto the mirror. This sent the light through the table, through the plate, and on to expose the cibachrome paper. None of this is possible anymore as cibachrome no longer exists. I don't know that you can now make a positive colour photogram. NO SCAN Bacillis subtilis, x 405 mm $2,400

4 Direct light #2, 2011 Gelatin silver print 1245 x 1060 mm Fiona Pardington Flora versus Fauna [Huia Lovers] 2004/2009/3/7 145 x 400 mm [print + image] $2,500 Fiona Pardington Flora versus Fauna [Huia Lovers] 2004/2009/7/7 210 x 505 mm [print + image] $2,500 The Sanctuary: Auckland (Path) 2004 Toned unique gelatin silver print 375 x 375 mm [page 30 The Sanctuary ] $3,500

5 Steel photogram, 2012 Gelatin silver print + steel 1060 x 760 mm Light painting, #1, 2012 Gelatin silver print + painted glass 360 x 300 mm $850 Brick photogram, 2012 Gelatin silver print + painted brick 315 x 390 x 390 mm $850

6 New Age: Berlin Airport III, 1996/2003 Unique gelatin silver print 256 x 203 mm $1,750 New Age: Munich (Garden) V. II, 1997/2003 Unique gelatin silver print 256 x 203 mm $1,750 Wild strain fungi, x 360 mm $1,500 Wild strain fungi, x 360 mm $1,500

7 Areta Wilkinson & Mark Adams Huia O kains Bay Maori & Colonial Museum Huia Tail Feathers, 2011 Cyanotype photogram 245 x 190 mm $1,500