Reflection: Showtimes

For the past few weeks I have been moving around a lot, which is reflected in my the productivity of my notations gallery which consists solely of smartphone captures in the public space. As these individual impulses have accumulated I have sought to identify some common themes.

  • Chiaroscuro

  • Reflected water

  • Mechanical/linear projections

  • Organic/nature projections

I have found that the impulse of the image draws me to the surface, chasing the ‘chance’ element combined with the eye of street photography. Being in the public space, they could be described as street photographs in the purest sense.

I found myself inspired by a particular shadow pattern going to/from the supermarket. So much so that I turned it into a semi-routine for an additional couple of days photographing the time to (10:08) and back (10:34). What I drew from this experiment was that the photograph itself (modernist thinking) is influenced by space and time, along with the human process of organisation. I can look at the selection below as 3 x diptych or 2 x triptych comparisons of time affecting the image on a surface. This is how we select/deselect our preferences in post-production or for presentation.

On a reflective level I see them as a repetition of an original encounter, looking for a recurrence of a time past that is always altered. It reminds me of a Douglas Crimp quote saying “The desire of representation exists only insofar as it can never be fulfilled, insofar as the original is always deferred.” (Crimp, 1993, p.111). I would suggest that representation can also be regarded here as memory, it is the protection of memory and the desire to relive, revive a moment passed.

The aesthetic most resembles a recent series Untitled, 2017 by Uta Barth (see fig. 1.) which is a departure from the work that she produced specifically within her home. I was referred to Barth by a fellow peer during a study group session, again sometimes time influences the response to a subject of interest.

 Fig. 1.  17.11  (2017)

Fig. 1. 17.11 (2017)

These encounters prompted me to return to another notation location, again with the opportunity to compare time. In this case I photographed a surface which reminds me of a movie screen due to its proportions. But I included an element of what surrounds the photograph (postmodern thinking).

In both places I photographed these formally with my camera in intervals to offer a moving image comparison which I will share in the next post.


Barth, U (no date) Available at: (Accessed on 09.09.18).

Crimp, D (1993) On the Museums Ruins. Massachusetts: MIT Press.

List of illustrations

Figure 1. Barth, U (2017) 17.11 [Photograph] At: (Accessed on 09.09.18)