N.B. This is a draft of the introduction to my Body of Work. I will be revising it during the remainder of Part four.
The encounter of shadow is something that has inspired artistic expression throughout human history. Yet today in an image lead culture it is often forgotten that the photograph is predominantly displaced from its place of capture.
I conceived the idea of the shadowgram as a contemporary take on the photogram. A shadowgraph is a shadow projected onto a surface that is framed by an optical device, or in my case a sheet of A4 paper. It is something I observe and respond to rather than construct. From this basic idea I have developed a way of seeing which moves away from narrative, or the representational image, and towards a concept of acknowledging the gaps and intervals between the images we see.
Notations are abstractions discovered in the public space by positioning a sheet of A4 paper to harness a shadow image. In-spite of the image space being a physical print, the abstraction itself does not exist beyond its documented notation. The paradox is that something has physically existed and yet is only authenticated by the digital.
Formations are a site-specific activity undertaken in interior spaces, A4 placeholders are placed, responding to the encounter of light and shadow, the arrangement or mosaic is harmonious rather than orderly, offering the viewer the chance to complete the picture in their own mind.
Interventions carry the formations concept back into the public space. These ephemeral street art works respond to the shadow encounter at a point in space and time. Upon completion and documentation, I surrender ownership of the work to the space. The memory, or documentation is forever incomplete, and for as long as it exists, is free to be interpreted.