Vessels & Vestiges. Exhibition of 20 chemically unfixed silver gelatine handprints within an installation.
- Submitting institution
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University of Wales Trinity Saint David / Prifysgol Cymru Y Drindod Dewi Sant
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32-RM2
- Type
- M - Exhibition
- Venue(s)
- Mission Gallery, Swansea 2015; The Photographers Gallery, London, 2016; Flowers Gallery, London, 2016; Jerwood Space, London, 2017; Materia Gallery, Rome, 2018;
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- December
- Year of first exhibition
- 2015
- URL
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https://www.missiongallery.co.uk/exhibitions/divisible-remainder/
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
-
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Vessels & Vestiges changes the perception of the photograph from a static representation, isolated from the flux of its apparent animation, to a temporal event, unfolding in time and space with the spectator. Through a philosophical and phenomenological inquiry, this research analyses the ontology of the photographic image, and proposes new structures for the display of the work of art that are embodied, intensive and affecting. Continuing experimental mythologies for making light sensitive photographic prints in his work Latent Frequencies, Moule defined a conceptual framework for an installation that heightened the experience of viewing the work of art. Recent studies show that the average spectator views a work of art for less than 10 seconds within a gallery. The processes employed attempts to challenge the spectator, creating an entanglement that arrests the attention by creating conceptually ‘active’ environments for the display of the work of art. The only colour in the spectrum that photographic sensitive paper can be viewed under is red. For Vessels & Vestiges, Moule converted the gallery into red lit darkroom. Creating specific conditions for exhibiting light sensitive works. As soon as the audience is aware that the works are fragile, and if shown in any other context other than the one they are within, the works would fade to black, the pace of the spectator is slowed. Proposing new methodologies for the display of the work of art challenges traditional ideas of spectatorship by creating a conceptually ‘active spaces’ for reception, the audience re-engages with what they think they already know, encountering instead of recognising. The body of the audience is engaged with the physical experience of the work of art. Dissemination: Divisible Remainder, Mission Gallery, 12 Sept - 08 Nov 2015 (Solo Show)
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
