Latent Frequencies. Artist book containing 10 chemically unfixed silver gelatine handprints
- 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-RM1
- Type
- Q - Digital or visual media
- Publisher
- -
- Month
- June
- Year
- 2014
- URL
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https://vimeo.com/100215494
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This research identifies the need to critically explore our relationship with how we see and experience the photographic image, not as a passive act, but as an embodied phenomenological act. Latent Frequencies is a body of work conceived as an artwork in book format, employing chemically unfixed silver gelatine handprints. The unique methodologies created in the production of this work explores the duration of the photographic image through conceptually ‘active’ means of spectator engagement. Though we are used to seeing images fixed through time, the processes employed for this body of work challenges our relationship to images. The light sensitive images contained within this artist book enter the image back into the same temporal conditions as the viewing human subject. As the audience turns the page, the images react to light, and slowly disappear. The photographic works were made in homes abandoned to coastal erosion and on the verge of erasure due to the encroaching force of the ocean. Later developed in an analogue darkroom and put through a unique chemical process that make the printed photographs light sensitive. These 'unfixed' prints replicate and explore a relic of chemical photography. The latent image continues to fade as it is exposed to light over the duration of its existence, so it is the very act of looking that effaces the image, with each interaction leaving a new trace of its viewing. Whereas vision/light once stood for reason and knowledge, here the gaze itself becomes a source of destruction, cannibalising the image and heightening the awareness of how the spectator engages with the artworks. This creates a new tension for viewing the image, not based on instantaneous consumption, but an absorptive investment in time in space. Dissemination: Room and Book at the ICA, London. 6th-8th June 2014.
- Author contribution statement
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- Non-English
- No
- English abstract
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