I’ve collected samples of seaweed from Worbarrow Bay which are suspended in ice in my freezer – a primordial soup waiting to be photographed and made into photopolymers. I’ve also acquired the old wooden cabinet once used by an Oxford orthopaedic surgeon to house his x-ray slides of patients’ knee joints! It has a light-box at the bottom which illuminates the 28 glass shelves which are stacked above it. I plan to turn it into a multi-layered installation as an extension of my attempts to build a layered, temporal component back into my work.
I’ll continue to test my pinhole camera to adjust exposure times. Simply using light, rather than a lens, to capture an image on paper or film connects to my desire to mark the imprint of the viewer on the art and vice versa. I plan to look again at Bruce Nauman’s Disappearing Acts, to think about concepts of removal and concealment, and to watch Patrick Keiller’s approach to landscape in his film Robinson in Ruins.
My walks along the shoreline continue. For the next phase of coastal exploration, I’m composing a soundscape to accompany a film; as a former BBC tv and radio documentary maker, I’d like to bring those skills back into my practice. I’m also intrigued by the idea of using a tracking mount on my camera to capture multiple, sequential images of the earth’s rotation. This would key into my principal research question which combines the coast, climate and layered time. I have an idea that by taking multiple images over several hours as the earth rotates, with my camera aligned to Polaris, that I could make a sequence of photopolymer prints to be arranged in a circle.