Wednesday, 17 July 2013

Sabine Pearlman - Ammo


This series of ammunition cross-sections was photographed inside a WWII bunker in Switzerland in October of 2012. The entire series consists of 900 specimens. I was originally intrigued by the ambiguous nature of the subject matter. The cross-sections reveal a hidden complexity and beauty of form, which stands in vast contrast to the destructive purpose of the object. It is a representation of the evil and the beautiful, a reflection of the human condition. 







Friday, 12 July 2013

Photolucida: Brad Carlisle: Tempus Incognitus

Brad Carlile works in a conceptual way, using light and time to animate rooms that are normally without much personality.  His project, Tempus Incognitus, makes brilliant color the main character in the drama playing out behind closed doors.

Tempus Incognitus
"Tempus Incognitus" is my series of large scale photographs depicting hotel rooms that explores the transitory nature of modern life.  These images are meant to pique our curiosity about the stories superimposed on these walls. Think Edward Hopper interiors awash in James Turrell colors with David Lynch directing. These hotel rooms lack personal effects to invite a narrative.
"Tempus Incognitus" records the day's transitional times and shows them existing concurrently. Multiple exposures are shot over 2 or more days and the images are created in camera and on film with no digital manipulation. The Cubists painted scenes that showed several different perspectives at the same time. In this series, I photograph individual rooms at several different times of day from a single perspective.



 This series has conceptual underpinnings. The rooms are depersonalized to invite a narrative.  I have rules that combine the element of chance in these environments with predetermined rules that provide underlying parameters for this process. I use a time-intensive technique that captures the evolution of light and emphasizes change in vivid colors. Each image is composed of 3-9 exposures. Only the light in the room is used to create the images – no colored bulbs or gels are used. I shoot only at pre-determined times in the day and don't allow myself to wait for perfect light, I must adjust to the particular light given the confines of this schedule.


 This technique highlights change with color allowing us to see time in ways we are not accustomed. This sublime view moves the horizons of our understanding and takes us outside the limited range of our senses and default assumptions about the world.