Reflection: Drafting interventions

Back in May I had the opportunity to finish my time up in Liverpool by putting into practice the theory for my BoW in the public space, before heading to my new pastures of Kuala Lumpur. While this wasn’t completely a now or never situation, my coming 6-12 months will be limited to the domestic space where I could, in theory continue with my formations strategy which is based upon working within the confines of home much like Uta Barth. In addition my accessibility to photo quality printing is not the same as what I had previously in my studio space, making the logistics of the process more inhibiting.

There was a sense of unknown how the ideas would translate outside, however I had undertaken plenty of research beforehand on site-specificity and participation. After a period of getting the technique and process right, I gathered 6 completed interventions on the public space around Liverpool.

What was interesting for me the maker, is the levels of photography involved in the process, the intervention is a 1:1 scale rendering of an image returned to its place of creation. Offering an abstract image of time and light that is not displaced from its origin. The follow-up and intrigue; how the shadowgram would exist after afterwards is what made me keep returning to the sites, and as such building up a larger selection of images to define the installation.

Now after a long time sat on the work, I begin to consider what in the end is the BoW? The curated selection of realised interventions as seen above? Or is the work the documentation of a conceptual process? Each intervention presented above is sequenced below in order of capture, and titled by its location in Liverpool. In some cases it could be argued that the process is what is to be seen, but in the end is it a matter of format? In a recent piece of coursework on sequencing I reflected on the publication Geometry of Light (Turrell, 2009) in which the representational image of James Turrell’s work is accompanied by details and conceptual drawings. The representational image is a selected photograph that the artist wants their work to be referred to visually.

Jordan Street

Saint James Street

Jamaica Street

Bridgewater Street

Strand Street

Mann Island


If I were to wish to use many of the images above, it would largely depend on the choice of medium I would want my BoW to be realised in. Or alternatively, do I look to amalgamate the various levels of work I have undertaken, presenting a BoW that demonstrates on different levels a particular way of seeing, leaving process out of the selection.

This is the point to reflect upon before proceeding further.


Turrell, J (2009) Geometry of Light. Germany: Hate Cantz Verlag.