‘Looking at, looking through’ is a body of work that experiments with the transparency of the image to represent photographic imprints of memory. Using traditional photographic processes in the darkroom, such as direct contact printing, has allowed for the transfer of images from one surface to another, replicating the way memories are imprinted in our minds.
When on a visit to Brighton, I found myself browsing through Snoopers Paradise, which is an emporium-style shop full of unique items. This is where I have discovered a stack of slide films encased in tape, making it very hard to access the images within. Later, after purchasing these slides, I unravelled the tape to find out that the images within were all displaying places in Cornwall that I recognised through years of visiting family and enjoying summer holidays. Each slide was marked with handwritten place names documenting the travels of the original owner.
Slide film has an inherent association with family, making the viewing an event for everyone to participate in. The atmosphere created when partaking in this event has a nostalgic familiarity. Imperfections within the images are often created due to the nature of how they are captured. Thus, creating liminal spaces in the faded traces of images, opening room for the searching of smaller details to connect the intangible memories to the tangible image.
Throughout this process, I have uncovered the fragility of memories, and while our subconscious is constantly fed new memories, some are not imprinted quite as deeply as others.
When on a visit to Brighton, I found myself browsing through Snoopers Paradise, which is an emporium-style shop full of unique items. This is where I have discovered a stack of slide films encased in tape, making it very hard to access the images within. Later, after purchasing these slides, I unravelled the tape to find out that the images within were all displaying places in Cornwall that I recognised through years of visiting family and enjoying summer holidays. Each slide was marked with handwritten place names documenting the travels of the original owner.
Slide film has an inherent association with family, making the viewing an event for everyone to participate in. The atmosphere created when partaking in this event has a nostalgic familiarity. Imperfections within the images are often created due to the nature of how they are captured. Thus, creating liminal spaces in the faded traces of images, opening room for the searching of smaller details to connect the intangible memories to the tangible image.
Throughout this process, I have uncovered the fragility of memories, and while our subconscious is constantly fed new memories, some are not imprinted quite as deeply as others.