Fits and bursts

Berlin

2012-01-28T14:42:00.000Z

Edit pile

2012-01-16T09:54:00.000Z

The beginning of an edit.

I found this flower in Tate Modern

2012-01-12T20:56:00.000Z

Dispoable 'X' artist book [Berlin 1st February 2010 - 23rd June 2011]

2012-01-07T21:32:00.000Z

I recently made the first in a series of books. Each book will be dedicated to material from individual disposable cameras I have unearthed at various locations, having buried them there on the previous visit to that particular location. Please excuse the poor quality documentation!

Hit and run crime scene, New years day 2012

2012-01-05T22:57:00.000Z

Shooting in Dublin

2011-12-23T14:37:00.000Z

The death of analogue

2011-12-17T11:52:00.000Z

A little girl using a touch screen tablet then tries to use a magazine in the same way.

Out of service

2011-12-14T22:41:00.002Z

'Disposable' at The Margate Photography festival

2011-12-04T18:44:00.000Z

It’s been a long, loooooooonnnnng time since I last posted, as I was reminded by a colleague Chris Roberts what seems like ages. However in my defence the blog is called ‘Fits and bursts’ for a reason!

I've been busy with the start of the new teaching year and an OFSTED inspection. Aside from that I was working on an interview I did with London based designer Rachel Thomas for a new magazine ‘Argon’ which is online now. [http://www.argonmagazine.com/]

This post is concerned with the retrieval of two cameras from Berlin and the recent [-ish] display of 'Disposable' at the The Margate Photography festival in August.

I was contacted by one of the festivals curators, Samantha Cawson in June. She explained that the concept and process behind 'Disposable' fitted well with the theme for this years festival, ‘Organic’.

When I received Samantha's email I was in an internet cafe in Berlin contemplating how to get two cameras [images below] back to London. They had been buried there for 18 months. In the end I posted the two cameras along with soil samples back to the university where I work and took the films with me as hand luggage.

I got the films I had recovered from Berlin developed in Labyrinth lab [underneath Four corners, Roman road]. The first roll came out blank. The emulsion had completely washed off into the soil. When I got home I scanned the roll anyway [detail below]. While there were no 'photographs' there was an image, made up of the various marks the emulsions residue had created. I was excited about this result. I think that if the whole roll was presented as a continuous image it would work. It is still an image that represents the duration of time spent away from the site and the physical locations effect on the latent images or latent memories I left there. Sometimes absence says more than presence.

I went back to the lab the next day to find out the fate of the second roll. This time there were some images. I got it home and started to scan the images to see what I had. It ended up being the best set of images from this project so far, it had continuity. The various 'frames' all worked together and emerged into a continuous image. They all had the same colour balance and this worked. I think all bar one of the 'images' that survived were landscape in format, even the one which wasn't looked as if it could have been. Below are some details from the second roll which was buried in Berlin [1st February 2010 - 23rd June 2011].

This continuity achieved through the overall colour cast of the film and format of surviving frames, held the narrative together it really feels like a single story or 'snip it' from that period.

Recovering these cameras and seeing the resulting images is a weird process. It is kind of like doing your tax return. Past moments in life brought to the forefront of your mind having been kick started by a random receipt. With the images it highlighted changes in my life since the images were taken. People fall in and out of your life, sometimes remaining but under another guise. The images which do not survive the period of making in the soil are like the gaps in memory.

Anyway getting back to the Margate Photography Festival. I wanted to exhibit the work in display cabinets in order to convey the experimental nature of the work, whilst creating a sense of the action involved. Cabinets seemed like the best way to achieve this and also meant that I could prepare the physical space the artifact's and imagery would occupy in advance.

The images above were the ones that Samantha sent me of the space, I was allocated the space illustrated in the top image, which is to the right in the bottom one.

I wasn't able to find the type of cabinets that I wanted online so I decided to make them. With the benefit of hindsight I don’t think I would do that again. It took a lot of time to plan, source materials and build. Not to mention the logistics of construction and transportation from one site to another.

I explored a number size combinations for the cabinets. Ideally I wanted a single cabinet the full length of the space. However once I thought about it a bit more the restraints of the material I was using came to light. The longest length of MDF is 2440mm. I wanted to use MDF because I am familiar with it and it has a very smooth finish. This ended up dictating the largest size possible for one of the cabinets. So I decided to use this large cabinet to display the artifact's and related material.

I decided to have an additional cabinet filling up the remaining space in a square format. This smaller cabinet was originally designed to house photographs of the ‘X’s I carve into trees [to mark each burial site] along with ariel images of the locations where cameras are currently buried. I wanted to convey the international scope of the project through the inclusion of these unresolved sites. However following discussion with a number of people I decided to abandon them in favour of a large printed detail from one of the films recovered. It is only natural for a viewer to want to see the result of process.

At first I explored initial ideas re: content and layout through thumbnail sketches. I found it easier to make sense of all the different strands and possibilities through these rudimentary sketches. Drawing is such an immediate way of visualising an idea and its variants.

I wanted the viewer to understand that this is an on-going and current project. I wanted to covey its unpredictability. I wanted to create a sense of curiosity surrounding the artifact's, like the soil and root covered cameras, to emphasise the impact of organic material and time on the latent images that had been stored at these locations.

I am also interested in drawing attention to the analogue photographic process and its gradual but consistent disappearance. Disposable cameras themselves are functional objects that became inbeded in popular culture and more than probably soon be defunct, consigned to the scrap heap only to enjoy a revival in retro Shoreditch curiosity shops in a decade.

I did toy with the idea of displaying a series of open note books [one per site] containing material from each location. I wanted to get across the idea of the project being unresolved particularly in relation to the sites that I have not returned to. This is a live project, images or rather latent images are currently being autonomously worked on by the physical locations they were hidden in. I felt that the notebooks would aid the secretive aspect of each cameras location. The idea being that each notebook would essentially be a map to each site. However I did not spend much time with this idea because it felt too contrived, I would be recreating individual notebook aide memoirs as opposed to having used them from the start.

While this thinking through process was taking place I began to collate all the material I have amassed as the project developed. Artifact's were photographed and printed out on a 1:1 scale, along with imagery from the series that I was considering using. Once I had this material I measured out the space first on my studio floor and then on the wall. I then began to translate these sketches on to the wall. Spending time exploring possible layouts, content and sizes of imagery.

When I had narrowed the content and layout down, I then decided to make a digital mock up. While the mock up on the wall was close to 1:1 in scale and therefore gave an accurate sense of the installations size, these were poor quality work prints and I wanted to get a sense of what the polished end result would look and feel like [See below]

I opened my studio during the Hackney Wicked Festival this year while I was preparing for Margate. It was an opportunity to get some feedback from visitors before I was committed to the final display.

While the studio was open I continued to explore different ideas I had floating around. One of which was simply to have a single cabinet with a a large detail from one of the films retrieved in Berlin. [Examples of which are above and below]

As I have mentioned in previous posts regarding this project, in an ideal world I would like to exhibit the each roll of film as a large continuous image. This format I started to explore above, was more in-line with this. However in terms of conveying the story behind the series and engaging the public I felt that, for the Festival, I should include the other material as the narrative would have been too hard to grasp.

Making the cabinets themselves was a long process. I am glad I did it but as mentioned earlier I don't think I'd do it again. I built each cabinet so that they could be broken up into three parts. This was to aid transport to and from / in and out of the space. They were heavy and despite being broken into three parts the large one was difficult to handle. I did run into problems when making the cabinets and the finish could have been more polished but on the whole they worked and didn't distract from the work itself which was the whole point. I spent so much time working on these cabinets so that the viewer would not notice them and would focus on the content.

I made the frames for each of the cabinets from planed timber. I then attached a skin of MDF.

Below are the finished cabinets installed in the space Marine Studios, Margate.
The image below is an ariel view of the actual installation.

The next set of images is made up of details from the installation.

I had planned on pinning the films strips loosely to the base board through the films sprockets. However I ended up using bull dog clips which worked really well. They didn't take away from the films as objects and saved so much time during the set up.

Scroll down to view details of each part of the installation, which included material from three different cameras. Each cameras narrative is read from left to right. The images that follow start from the top of the large cabinet down, starting with a camera that was buried in Hampshire, UK. 11th September 2009 - 10th September 2010.

[Below] Dublin, Eire. 25th December 2009 - 30th June 2010

[Below] Berlin, Deutschland 1st February 2010 - 23rd June 2011.

The last image is of the large detail from the camera that had been buried in Berlin for 18 months. In an ideal situation I would like to exhibit a print of the entire length of film on this scale. This means allot of wall space.

Argon Magazine, Issue 1

2011-11-07T21:42:00.001Z

First issue of Argon Magazine is online now. Features a diverse range of material which includes 'Self help' and an interview I did with Designer Rachel Thomas. Very pleased to have been involved!

2011-10-24T20:14:00.002Z

Guerilla snowfall in Riga

2011-10-24T20:02:00.001Z

Today in Riga, the capital of Latvia, a masked person release thousands of dandelions seeds from the roof of a building in the city centre. It literally looks like it snowing. Nobody knows who did it!

The Virgin mary appears in Wimbledon

2011-10-03T18:29:00.000Z

Interview with Rachel Thomas for Argon Magazine

2011-09-20T18:33:00.000Z

I was asked to interview the London based designer Rachel Thomas for Argon Magazine, a new online quarterly magazine Art, Fashion, Music, Illustration and Culture.Today I handed the transcript in. The Magazine will be launched in 24 days.

Interview by Richard Hering during Hackney Wicked 2011

2011-08-01T10:48:00.002Z

The festival is over but it was definetly the biggest so far. Thanks to everyone who called into my studio. It was great to meet new people, have a chat while also getting different perspectives on my 'Disposable' project.

I spent the weekend continuing with preparations for the upcoming display of 'Disposable' during the Margate Photography Festival. A journalist called Richard Hering conducted a short interview with me about the work.

Open Studio - Hackney Wicked 2011

2011-07-27T18:17:00.000Z

I will be opening my studio during the Hackney Wicked festival which starts this Friday 29th and runs until Sunday 31st July.

Opening times are as follows

29th Friday 6-8pm
30th Saturday 12-6pm
31st Sunday 12-6pm

Follow this link for a map from Hackney Wick Overground station to my studio

There will be all sorts of lot of events planned during the festival, please check the festival site for more info http://hackneywickedfestival.co.uk/

Detail from recovered film that was buried in Berlin, Deutschland 1st February 2010 - 23rd June 2011.

Unlike last year I will not be turning the space into a mini gallery, however I will be using the time to continue with preparations for an upcoming display of 'Disposable' [2008 - present] as part of the Margate Photography Festival in August. Further information on this body of work can be viewed by following the links below.

http://davidblackmore.co.uk/disposable.html
http://davidblackmore.blogspot.com/2011/04/disposable-series.html
http://www.margatephotofest.co.uk/the-trace/

Aside from The Hackney Wicked festival I currently have work on display in three group exhibitions.

'Recollection' at The James Hockney Gallery, UCA, Farnham, UK. 09/07 - 17/08/11
Drawn from The University of the Creative Arts collection of artworks. [Follow the link for more info]

'Long way to Paradise' group show curated by Barry W Hughes as part of PhotoIreland Festival, Dublin. 15/07 - 31/07/11
This exhibition will travel to Belfast as part of the cities photography festival in August. The work I have in this show and its accompanying text can be viewed here

'Allotments' at The Schwartz Gallery, London. 21/07 - 21/08/11
This gallery is very close to my studio and will be open during the festival. I have a large charcoal study on display.

A-L-L-O-T-M-E-N-T-S 2011

2011-07-20T13:06:00.000Z

Curated by Patrick Michalopoulos and Ismail Erbil

Private View: Wednesday 20th July 2011, 6 – 9 p.m

Exhibition Dates: Thursday 21st July – Saturday 21st August, 2011
Opening hours: Thursday – Saturday 12-6 p.m

A collaborative project for the tenants of 92 White Post Lane, E9 5EN, Tower Hamlets Borough.

Eva Bachmann, Adam Beale, Sam Bailey, David Blackmore, Dan Bennett, Liam Bierschenk, Rodolph de Salis, Ismail Erbil, Phillip Hennessey, Vibeke Luther, Kit Merritt, Patrick Michalopoulos, Narinda Minnaar, Leyre Monkeyshoes, Nerina Morcavallo, Scott O´Rourke, Alice Palmer, Erik Perera, Ashling Smith, Russell Thoburn, Funda Yapan.

The tenants of 92 White Post Lane are invited to participate in a unique collaborative project that divides the gallery space into ‘allotments’. These spaces will be chalked out and numbered prior to the works being delivered to the gallery. The gallery becomes a ‘meeting place’ questioning notions of curatorial responsibility and artistic pedigree. Occupants of units who do not identify themselves as artists are also invited to participate. Allotments not ‘claimed’ by tenants for whatever reason will be left empty. Spaces are allocated by picking a number from a pot injecting elements of ‘chance’ and ‘play’ into the curatorial process. In this way a grid of allotments will be formed that is structured yet undefined; relationships between artworks reflect a diversity of approaches to what art is and how it should be displayed and interpreted while promoting a sense of community for the residents.

ReCollection

2011-07-10T18:30:00.001Z

I have work on display at the James Hockney gallery in a show called ReCollection. The show consists of the Uinversity for the Creative Arts art collection.

Recollection

9th July - 17th August 2011

The UCA Collection, totalling over 260 works, contains an historical record of artwork donated to the university in the latter half of the twentieth century, initially consisting primarily of etchings and engravings. Photography by prominent artists, lecturers and graduating students has gained prominence as a recently strand. Originally a repository of disparate works, the collection was centralised in 1998, under the supervision of Christine Kapteijn, Galleries Manager and Curator, and Professor Norman Taylor OBE, then Director of the Surrey Institute of Art & Design, University College.

During the summer of 2009, window replacement work in the James Hockey Gallery, UCA Farnham, was completed ahead of schedule, allowing annual maintenance of the UCA Collection the rare opportunity to take place in this vast space. Out of storage, the latest photographic additions to the collection were seen alongside longstanding and familiar works for the first time. While being re-measured and re-photographed in the gallery over the course of a week works took on a new meaning by being viewed together in a wider context.

'ReCollection' is intended to act as a springboard towards launching a formal collecting policy, bringing together an established focus on photography and exploring accidental relationships between works regardless of subject matter or medium. Curated by Lee Broughall and Phoebe Gardiner, the exhibition considers contrasting topics: of merriment and melancholy, the delicate and the rudimentary, the old and the new. This is a rare opportunity to view around 50 works from the UCA Collection, exhibited in pairs and groups that inform and influence each other.

Artists exhibiting in ReCollection

Mick Aslin
Charles Bartlett
David Blackmore
Colin Booth
Harold Cheesman
Alessia Chiappino
Adam Chodzko
Jane Clarke
Gregory Coates
Richard Cole
Jack Coutu
Barbara Crowe
Fleur Davies
Tacita Dean
Lizzie Espinoza
Nooshin Farhid
Stephen Farthing
Stephen Ford
Dicky Graham
Grennan & Sperandio
Matt Hamid
BJ Harrison
Mona Hatoum
James Hockey
Jan Hunter
Dr. Mark Ingham
Charlotte Jonsmyr
John Joyce
David Kefford
Peter Kennard
Ronald King
Leszek Muszynski
Damien O'Connell
Ben Parsons
Jonathan Parsons
Ben Rowe
Tim Savage
Mark Seiltz
Seamus Staunton
Ed Thompson
Ina Dorthea Thuresson
Matthew Topham
Susan Trangmar
Natalie Waite
Andrew Whamond
Edmund Whitaker
Caroline Woowat

Group show, 'Long way to Paradise', at the PhotoIreland and Belfast Photo Festivals

2011-07-07T11:50:00.000Z

I have work in a group show coming up entitled 'Long way to Paradise' which is part of the PhotoIreland Festival. The exhibition has been curated by Barry W. Hughes, the editor of the journal Super Massive Black hole.

The title of this group exhibition is taken from the Belfast punk band Stiff Little Fingers’s song ‘It’s A Long Way To Paradise (From Here)’, which deals with the daily grind of living in an economically deprived urban environment – a broken city. The song’s title set the tone for this exhibition, which sets out to reflect the current frustrations resulting from the recent economic collapse and political upheavals, as interpreted through the urban environment and its inhabitants.

This exhibition will show the work of 10 engaging photographers from Ireland and around the world, whose work explores the contradictory nature of living in a modern city; combining a sense of anxiety and hope, of inertia and freedom, and of dreams and reality.

Mark Curran

David Blackmore

Yaniv Waissa

Dan Shipsides

Diarmait Grogan

Paul Corcoran

Virginie Rebetez

Stephen Gunning

Sarah Sudhoff

Angela Darby & Robert Peters

The show opens on 15th July at Filmbase on Curved Street, Temple Bar, Dublin and runs until 31st July after which it travels to Belfast for The Belfast Photo Festival [4th August - 12th, August 2011]

http://2011.photoireland.org/program/long-way-to-paradise/

http://www.belfastphotofestival.com/exhibitions/long-way-to-paradise

Another year over

2011-06-06T17:45:00.000Z

Awards for my class this year. A good bunch and I wish them all the best for the future. Their show runs until Saturday 11th June at University for the Creative Arts, Farnham.

'Self help' [2010] at Voorkamer, Lier, Belgium. 21.05 - 02.07.11

2011-05-13T16:33:00.000Z

A recent body of work of mine entitled 'Self Help' [2010] is being included in a group exhibition at the Voorkamer gallery, Lier, Belgium. Self help was originally made at the invitation of the Schwartz Gallery's 'Project space' in November 2010. I will be at the opening so if you live or happen to be in the area come along on the 21st May. The developmental work for 'Self help' can be viewed by following this link. http://davidblackmore.blogspot.com/2010/12/development-of-self-help-at-schwatrz.html

Voorkamer presents

In - and outside - writing

21.05 - 02.07.11, Lier, Belgium

From May 21 until July 2, 2011, Voorkamer will be presenting “In – and outside – writing”, an exhibition exploring the area when writing and drawing are most closely related. At the centre of this exhibition is the OPAK research project o the same name, undertaken by the artists Kelly Chorpening, Rebecca Fortnum, Peter Morrens and Ans Nys, a joint venture between Sint-Lucas Fine Arts Ghent and University of the Arts London. During several sessions in the UK and Belgium, and via continuous correspondence, they have collaborated intensely over the past year. The Voorkamer exhibition features their work alongside a selection of contemporary artists they considered exemplary to their concerns in relation to drawing, in- and outside- writing.

The exhibition will be co-curated by Voorkamer / Rik De Boe and Marc Nagtzaam. Each of them complete the exhibition with a selection of relevant works

The research project will culminate with two publications later this year; an artists’ book, published by RGAP (UK), in collaboration with Cornerhouse, and a OPAK cahier, published by Acco.

conributing artists are:

Kelly Chorpening (USA) Peter Morrens (BE) Rebecca Fortnum (UK) Ans Nys (BE) Marc Nagtzaam (NL) Rik De Boe (BE) Marijn van Kreij (NL) Johan De Wilde (BE) Reinhard Doubrawa (DE) Toine Horvers (NL) Rinus Van de Velde (BE) Katrin Stroebol (DE) Voebe de Gruyter (NL) Christoph Fink (BE) Reinaart Vanhoe (NL) Werner Mannaers (BE) Alice O’Hanlon (UK) Maria Barnas (NL) Hiroko Ichihara (JP) Armand Schulthess (CH) Philippe Vandenberg (BE) Ante Timmermans (BE) Guy Rombouts (BE) Serge Onnen (FR) Ryan Brown (USA) Pol Pierart (BE) Vaast Colson (BE) Lore Smolders (BE) Dries Warlop (BE) Sacha Eckes (BE) Simon Benson (UK) Anne Daems (BE) Guy Richards Smit (USA) Patricia Smith (USA) Carlo Mistiaen (BE) James Brooks (UK) Wouter Coolens (BE) Molly Springfield (USA) Pavel Büchler (CZ) Louisa Minkin (UK) David Blackmore (IRL) Rosalie Schweiker (UK) Susan Johanknecht (UK) Kate Scrivener (UK) Rosalie Schweiker (UK) Sonia Boyce (UK) Adam Humphries (UK) Anna Mossman (UK) Dean Hughes (UK) Rupert Norfolk (UK) Benoît Felix (BE) Ane Mette Hol (NO) Beni Bischof (CH) Bert Mebius (NL) Frank Selby (USA) Cody Trepte (USA) Deb Solokow (USA) Geert Clarisse (BE) llse Ermen (BE/CH) Jim Torok (USA) Joe Amrhein (USA) Joe Hardesty (USA) William Powhida (USA) Ofer Wolberger (USA) Rachel E. Foster (USA) Fred Eerdekens (BE) Steve Roden (USA) David Kramer (USA) Denicolai & Provoost (BE) Paul Casaer (BE) Kasper Andreasen (DK) Thierry De Cordier (BE) Wilhelm Sasnal (PL) Tine Melzer (DE) Norma Markley (UK) Melvin Way (UK) Stephan Van Den Burg (NL)

Royal wedding street party on Wilton way 29th April 2011

2011-05-07T12:56:00.001Z

I spent most of the day in and around Wilton way [E8] at a street party for the royal wedding. At first it did feel like a party to celebrate the occasion, families eating, drinking and playing in the street. People wearing mask of members of the royal family and a liberal sprinkle of union jacks as you would expect. As the day wore on the street got more and more packed and it decended into a massive session.

I found the whole experience of being in the London on the day really interesting. I am Irish and the son of an Englishman, so concepts of Englishness/Britishness do not seem as total alien to me, as they do to other Irish people. The Queen has been on the throne throughout my father’s life. She has been ever present throughout his development and life as an adult. So it is not surprising that a sense of connection exists. The Royal family has the potential to stir so much emotion here; their lives are exposed and played out in the media throughout. Even more so than 'normal' celebrities. The younger members of the family will most likely remain constants in my own life, regardless of how peripheral this existence will be it is none the less the most engaged relationship I will have with any public figure. Having said that I am by no means a royalist but I appreciated the sense of occasions and pomp the day brought with it.

A bank in Bethnal green, London

2011-04-29T13:23:00.006Z

I have not used my blog to vent frustrations to date but i have decided to make an exception in this case. I called into a particular bank on Bethnal green high street [London] the other day to close a couple of accounts I held with the bank. Anyone who is familiar with this particular branch will know how run down, dirty and inhospitable it is.

All of which makes for a depressive engagement with bureaucracy, I entered the bank and qued for just over an hour and a half. Approximately forty five minutes in one que and then a further 45 minutes in another. Of the staff I dealt with only one was conscientious. I am sure that their job is stressful at very busy times but the whole experience was so frustrating, almost as if they were making it as difficult as possible to leave the bank. A procedure which cannot be completed online or over the phone, only in branch. I thought about writing a letter of complaint to the bank but have decided that I want my share my dissatisfaction publicly.

R I.P

2011-04-19T18:58:00.001Z

I have a studio very close to the Olympic site. In Hackney Wick you are constantly reminded of the Olympics. You can see part of the park almost everywhere here which means that the uncertainty over the future of the spaces in Hackney Wick is never far away.

The image above is a view from the roof of one of the buildings near my studio. An additional block of buildings is to be built soon in place of the car park. The new building does not worry me, it will be a shame to see the space disappear as it has been used for events of some form or another, particularly the Hackney Wicked Festival. The R.I.P seems ominous for the future of artists in Hackney wick post Olympic games.On a brighter note the Hackney Wicked festival will be taking place over the last three days of July this year.

Disposable series

2011-04-04T18:52:00.000Z

Disposable 'X' marks the spot, Praha, Czech republic 12th March 2011 - present.

Its been a while since Ive made a post but i have a lot of material that has been produced in the intervening period which I am going to upload on a more regular basis. This post is a documentation of developments with my 'Disposable' series. This body of work involves the burying of an exposed disposable camera in locations i visit. The images on each camera to date have either been made en-route and / or during my visit. I then find a quiet area under the cover of trees and then dig a hole and bury the camera.

In photography there is a term, 'the latent image', which refers to the existence of an image on film once an exposure has been made and successful in recording some image on the film. This latent image exists only during the period directly after the initial exposure and the development of the film. The latent image cannot be viewed by anyone because the film is not fixed [one of the final stages in film development that stabilises the image fixes light sensitive material, making it permanent.] The actual development procedure intensifies or multiples the effect of the light used during the actual exposure 1000's of times in order for a visible [with the naked eye] negative or positive.

I am interested in this intervening period the period of the latent image. Present but not visible, there but not there. In relation to this project I am interested in the effect on the eventual images once the latent images on the film go through a substantial period of burial. During which the weather conditions, environment, the length of time buried, minerals and organic material inanimate and alive all have a part to play in the production of the images.

Retrieval of the cameras is only possible if I return to the location again. This cannot be the rational for a return, there must be another reason for the subsequent visit. The longest burial is in Bratislava which is approx. two years ago. I have dug up three cameras since then.

Brighton [6 months, 17th April 2010 - 17th October 2010]

Dublin [6 months, 25th December 2009 - 30th June 2010]

Hampshire [1 year, 11th September 2009 - 10th September 2010]

I am still very much feeling my way through this project and intend to continue it for the duration of my life. I really enjoy it because it is so open ended, some could stay buried for a shortish period of time a few months and others my remain buried for decades or forever. Others may have disappeared on my return or had multi story car parks built on top of them.

There is something primal about digging a hole and leaving or hiding something in it.

I have recently started collecting small soil samples from the locations I deposit cameras in. I have only done this twice now and I am not sure of what I am going to do with it. I like the forensic aspect of collecting samples, like gathering evidence of an artistic action. I also think it would be interesting to get the samples analysed for mineral and chemical content just to build up a picture of the possible factors influencing the latent images. I am interested in this information not as a way of predicting possible ramifications of soil content on film. It would be impossible for it to have an impact of where I will bury in future as I would have no way of accessing that information at burial neither would I want to influence this autonomous activity.

Soil sample form site of disposable camera buried in Prague on 12th March 2011

Disposable 'X' marks the spot, New York 3rd January 2011 - present.

Disposable 'X' marks the spot, Madrid 20th September 2010 - present

One of the 'X''s [return six months later] that marked a location in Dublin

Finding the cameras I have buried, then subsequently returned and dug up has proved a bit difficult at times. I always mark the area by carving an 'X' into a tree and marking the general area on a map. However I do not mark the exact location.Once I was lucky and found the camera within five minutes but on the other two occasions it took at least 45 minutes to find them. As you can see from the image below, it involves a number of speculative digs before it becomes fruitful. This would not be so bad if the area where the camera is buried is quiet but when its in the middle of a busy park on a sunny day it is more frustrating.

Map of burial site in Birmingham, UK. 19th September 2009 - present.

Camera excavated from location in Dublin after six months.

25th December 2009 - 30th June 2010

Deconstruction of excavated disposable camera during film retrieval.

Recovered Disposable camera. Brighton, UK. 14th April 2010 - 17th October 2010

Recovered Disposable camera. Hampshire, UK. 11th September 2009 - 10th September 2010

Below are the three rolls of film that I have recovered, with mixed results. I have learnt about what I can capture with a Disposable and what I cant.

The initial taking of images has been largely based on intuition, taking images of things that draw my attention. I have not ruled out set more rigorous rules as to what I can photograph in future. The experience of viewing the images once developed is odd. Even though the longest roll developed remained buried for just a year the images reinforced the changes to aspects of life within the period where evident. I cant imaging what it would be like to look back on image that were taken decades ago.

I have also realised that all the images must be shot in landscape because when exhibited I would like to display each full role as a continuous strip as below. I will also include the spooling perforations because the effect from weather and material in the soil effect each part of the roll not just the images. Therefore the work is the roll in its entirety as it is residue of the time and experience of being buried.

Detail from film excavated in Hampshire 11th September 2009 - 10th September 2010

Development of 'Self help' at the Schwartz Galleries Project space

2010-12-15T22:04:00.003Z

It is the last week of the 'Self help' show at the Schwartz Gallery's Project space. Thanks to those who have visited the show. If you havn't seen the work and are based in London it is open from today until Sunday.

I have had the idea of making work based on the highlighted text in second hand self help books for a while before I was approached by the curators Patrick and Ismail.

When I met them to discuss the show they were keen to show new work, in keeping with the new Project space's ethos of showcasing fresh work. I mentioned the Self help idea to them and they agreed that was the work they would like to show. Even though I had the idea for a while but the majority of the work would have to be made for the show. The idea had not manifested itself in anything other than the beginnings of my collection and initial thoughts on possible ways of working with the text. When I told the curators about how I envisaged the work as an outcome, it was very different to the final works. Initially I wanted to take quotes from a selection of the books, have them enlarged and printed as vinyl lettering. The vinyl text would then be placed on the wall. However this idea soon passed by the way side. I realised that it was not just the text that the original owners had singled out that was important but the actual marks made to single them out. It became apparent that if vinyl lettering was used I would not be able to accurately depict the markings used to highlight the text.

I then moved on to the idea of using the actual books themselves, I explored the idea of obscuring everything but the highlighted text with the book fixed in an open position.

At first I was drawn to using black graphically. However I found this to have too many negative connotations such as depression and censorship. I also explored the idea of whiting the pages out. However I quickly went off the idea of ‘outing’ the whole page as it made the text which remained [the highlighted] look as if it was lost or floating. When I began to restrict the concealing of text within the parameters of the body of text leaving a margin of paper the pages retained the look and feel of a book. This also had the added aesthetic attribute of retaining the colour of the pages, the yellow aged look. Initially I began experimenting with these different techniques on the pages of an old novel I was given but was now falling part. This experimentation was quick and I did not pay too much attention to detail, preferring to see quickly what each option would look like and what effect my intervention with the pages of the book would have on the reading a viewer might have.

As I said before I was drawn strongly to the blacking out of each individual line as if censoring a document or the black block obscuring the page within the texts parameters. However the negative connotations troubled me. I did not want the work to be viewed as a negative comment on someone’s attempts to make sense of Modern life.

So I explored white as an option, acrylic, gouache and tipex in a Varity of forms. I was drawn to the use of white as I associate it with a cleanliness, clarity, clear mental and physical space.

I continued to wander around London's second hand shops, looking through countless self help books. Looking for scribbles and markings. I was still unsure how what kind of rationale I was going to employ in the selection of marked passages from the books. It would have been easier just to pick entries at random, perhaps making for a more interesting final body of work? I decided that I should set myself the parameter of only utilising the first thing highlighted in the books. I am interested in the primary act, the thought processes invoked in the original readers mind when they decided to make a mark on the book as a aid memoire.

In addition to this I also experimented with the idea of obscuring the rest of the text by attempting to match the colour of the paper using paint to focus the viewer’s attention on the highlighted text. I did like this technique but felt that the paint used while close to the colour of the paper, it actual had the opposite effect to the one desired. Instead of focusing the eye on the marked text it actually caused the eye to wander around the pages trying to make out the other text which had been obscured.

I also bleached the text [didn’t work] and scratched of each of the individual characters from the rest of the page with a scalpel blade. However I didn’t like the effect for two reasons one is that I didn’t like the way the text looked lost floating on the pages and also the tactility of the object became an issue. The scratching had left the pages rough and thin to the extent that text from overleaf began to come through. These are traits of the process that do not necessarily become visible when viewing them from a distance or from a digital image.

As the collection expanded I began to periodically colour photocopy the books open where the first marks had been made. I then used these copies to experiment with a variety of styles and techniques in the hiding of the non-highlighted text.

The development work for this body of work is available for purchase. Specficially the photocopied versions of the books which have been used to experiment and explore ideas. Each of these is signed and dated and is available for £35 [unframed] including UK postage. Contact me to discuss international postage. These developmental pieces represent an important part of the creative journey for this body of work, I have decided to make these pieces that form part of my process available for purchase following a number of enquiries. These developmenatal works are available framed as are the actual works from 'Self help' me using the email below for enquiries.

All are A3 in size the books are 1:1 (dimensions variable) and the dark area surrounding each open book is part of the photocopy. To enquire about the purchase of these or any other work email me on db@davidblackmore.co.uk

Black permanent marker on A3 photocopy.

Tippex tape on A3 photocopy.

White acrylic and graphite on A3 photocopy.

Black acrylic and graphite on A3 photocopy.

White acrylic and graphite on A3 photocopy.

Gray acrylic and graphite on A3 photocopy.

Black permanent marker on A3 photocopy.

Blue and yellow highlighter ink on A3 photocopy.

White acrylic on A3 photocopy.

White acrylic and graphite on A3 photocopy.

Forthcoming exhibition-New work 'Self help' at the Schwartz galleries Project space

2010-11-05T20:28:00.003Z

I will be presenting new work entitled ‘Self help’ at the Schwartz galleries project space on Wednesday 24th November.

The work is based on my collection of second hand ‘Self help’ books. I specifically search out books in which lines or passages of text have been highlighted or underlined by the original owner. The work explores the desire of individuals to gain or reclaim control of different aspects of their life, be it to loose weight, beat depression or to achieve contentment in modern life. The desire to change a trait is the expression of a wish to have more control over day to day existence. For some this desire manifests itself in turning to these books in search of inspirational advice and methodologies to aid achieving these goals. My attention is drawn to the first thing they marked. The work is an exploration of this primary act, the making of a visual aid memoir, that first inspirational step to regain control.

http://www.schwartzgallery.co.uk/site/?page_id=10 [scroll down the page to see the information for the project space]

Private view: Wednesday 24th November, 6-9 p.m

Exhibition Dates: 24th November – 19th December

First Thursdays late opening: Thursday 2nd December 6-9 p.m

Opening times: Friday – Sunday 12-6 p.m

'Borrowed from bank' - research part 1

2010-10-18T18:36:00.225Z

It has been a while since I have made a post, hence the name ‘Fits and bursts’. Post the Hackney Wicked festival I have been working on a book to accompany this project and started teaching at the beginning of September. Teaching eats into a lot of my spare time towards the beginning or end of a term which is why I have neglected this blog. However the break has provided me with loads of material.

This post is part one of three discussing the research and concepts encountered leading up to and while working on this series . This post will deal with the process itself, visual effect of the work and the drawing process.

As previously stated the initial idea for this body of work came from the slogan on a Barclays’ pen ‘Borrowed from my bank’ which provided the impetus to see how much Ink I could 'borrow'.

At first I found the process exciting. A few times as a school kid I did try to keep individual pens in my possession so I could witness the drawn out but inevitable moment of exhaustion. I didn't do this regularly as a child but it did stick in my mind.I dont know why but I found he idea of witnessing the end of a pens functional life interested me, not in a negative way just to ensure it fullfilled its full function.

Over time the process of actually getting all the ink from each pen became menial like doing lines in school, a punishment for deciding to do this project and getting into debt.

This idea of school exercises reminded me of a body of work I came across a few years ago called 'Machine drawings'.

The artist Mohammad Ali Talpur re-appropriated a machine used to print the lines in school exercise books. He utilised the machine to make numerous, obsessive and repetitive lined marks on paper.

Borrowing the familiar aesthetic of exercise books to connote childhood memories of school, homework, writing notes, doodling, doing lines or the passing of time,

The memories I encountered while working on my own series reminded me of this work, particularly the idea of being kept back at school or having to do homework when I wanted to go out or watch the TV. The project felt at times like a form of regression to a simpler period of my life.

The process felt oppressive as time went on like crossing days off a wall. This sense of self inflicted oppression was compounded by the length of time each pen takes to run out and the banal blue and black office coloured monochromes produced.Which brought to mind the monochromatic work of Kazimir Malevich,Barnett Newman and Yves Klein .

Barnett Newman

I am attracted to the simplicity of the minimal aesthetic. Confronting an audience with bold monochromatic panels that cause the viewer to question the role of representational artwork, In the age of mechanical reproduction and the demise in representational artwork which the invention of photography instigated, what is art, what is it for? .

Obviously these works had a greater impact when they were first seen but they are still deeply troubling for the art consuming public now. Despite becoming ingrained in popular culture albeit usually in a derogatory way. It is becasue they are blunt minimal abstractions that troubles people. It goes against the grain of art history [representational art]. They are intimidating because they are so simplistic in appearance and lack superfical technical craft skills. For some this forms a barrier to attempting or wanting to attach 'meaning' or a rationale.

Yves Klein

It may surprise some to know that Malevich's 'Black square' was made in 1913. Way ahead of Abstract expressionism, conceptual art and minimalism.

Black circle, 1913

These morbid monochromes like the marks themselves repeat and regenerate themselves to such an extent that they bring to mind the continuous nature of routine, habit or numerous attempts to dig one self out of debt. Each square on a piece of graph paper represents a task, day, £1 paid off and one step closer to the goal. A goal which is never fully realised as pens rarely fill a single page prefering instead to embark and commit to overambitious attempts to fill multiple pages. A task which results in incomplete pages, projects started but left dwindling unfinished. This is similar to aspects of artist practice.

This idea is expressed well by Francis Alÿs' video work 'Sometimes doing something leads to nothing' which documents him pushing a large block of ice along a South American city's street over the course of a day until it eventually melts. Although in documentation accompanying the recent Tate Modern retrospective the artist states that his work, made in South America, discusses failed attempts to industrialise or globalised the continent.

Using the all the ink from each pen is an interesting exercise to go through. The process is largely the same excluding some minor variations in pen handling, ink transfer, and the image being created. You never really know when the ink will run out. Some pens are transparent and thus provide an indication to when the box filling will stop but this is not the case for the majority. You never really know how many boxes or pages you will fill and thus the outcome of each pens life’s worth. Comparisons between this and not knowing when your bank balance will run low, when will the over draft charges start to apply or when you have ultimately exhausted your funds, reminded me of when I would purposely avoid looking at my balance. In order to suspend reality for a few more days and live in irresponsible ignorance.

Filling in the squares also remindd me of my first experience of saving. As a child I used to collect stamps from the post office, stick them in a special card, filling boxes as I went, when I had pocket money. Eventually the card would fill up and I would either cash it in or deposit it. Part of the appeal of this is the idea of the collection which I think it is fair to say has preoccupied me on this project, the pens I collected, the ones I have not been able to secure and the bidding on ebay for pens from now bankrupt banks.

When approaching what is felt to be the end of the ink in a pen regardless of whether or not the ink level is visible. I experience a feeling similar to the one I encounter when approaching the final stages of a novel. A giddy sense of anticipation of the end, moving on and a sense of achievement.

The completed pages of whole pieces from the series at first glance seem minimal and do not provide an insight into the effort or time invested into each one. Which itself is a metaphor for the art product in a gallery as the process is not always visible. However a closer inspection conveys each pieces individuality, the effect of continuous mark making on the pages and the flow of ink.

I have been drawn to Eva Hesse's work since stumbling across it in a magazine while studying. I remember visiting the Tate retrospective of her work and feeling an affinity with it. In an article I read about her work the writer described Hesse's practice as appearing minimal but on closer inspection it became the 'antithesis of minimalism' because of the irregularity of the forms repeated within individual works. I feel this idea is particularly apt for my series. Something which appears to be simpler until a closer inspection reveals a more complex and imperfect reality. While each square at first seems nondescript from the whole, almost mechanical. The individuality of each squares marks increase in proportion to the scrutiny of its examination. Each box is filled during an individual possession and thought process.

This theme also runs through the work of Agnes Martin.I came across her work for the first time at The Douglas Hyde gallery in Dublin during the summer. As an aside to the Stephen Shore exhibition Martin had three drawings on graph paper. Martin was a spiritual person and her work could be read as the manifestation of a process in the exploration of a meditative state, this reading is in line with her Eastern philosophical beliefs. This kind of reading is not suitable to my drawings in fact the opposite is true.

As stated previously the process has become laborious, repetitive and insulating. At times it reminded me of various mental health problems or learning difficulties; depression, anxiety, autism and asperges. The repetitive and laborious marks I was making brought to my mind images of hasty, obsessive 'Outsider art' drawings. I have never really liked the term 'Outsider' or 'Naive' art, I have heard it used in a derogatory way and I have been guilty of this offence. I suppose if I am honest it is because the notion of outsider art, someone somewhere is making art without any intent, no concept. Which troubles my taught definition of art as idea driven produce.

While on the topic of 'Outsider' art I recently read a book called 'Extremely Loud and Incredibly Close' by Jonathan Safran Foer . It was about a young boy with autism in New York who’s farther died during 9/11. Throughout the child befriends various older individuals in his adventures. The book was not simply text. It comprised of photographic imagery, flip book sections, found objects, notes, newspaper cuttings, pages where typo’s had been circled in a similar way to Tom Phillips graphic narrative work.

The estranged grandfather, of the boy, was deaf. He communicated via YES and NO tattoo's on each of his hands and a series of notes in a sketchbook. Gradually throughout his life he began to reuse these books. Eventually resulting in the text becoming obscured due to the layering of words on top of each other. I like the idea of a lifetimes communication being scribed down and over time through repetition gradually erasing the content and making the communication indecipherable. This obsessive, manic behaviour could be read as an attempt to erase the past. Or in relation to my drawings to erase debt.

Il Lee is a Korean artist who works solely with ball point pens. He makes large drawings sometimes using multiple pens. There is a freedom and ferocity to the marks made that I admire and envy as I have to date not been able to attack the pages with as much rigor despite the urge to. As I am forced to adhere to the rules I set and fill the squares with a mechanical repetitive action.

When I began this project I found myself collecting the insides of envelopes, particularly ones sent by banks. I became really interested in the idea that these patterns are used to control information or rather to protect via control who views the information contained within. For a while I explored the idea of creating drawings based on these security patterns because these patterns form part of the visual language the banks use to communicate with their customers.

These machine printed patterns consists of two main varieties. One being a simple pattern repeated [above] that reminds me of a study Rachel Whiteread made for her sculptural work 'floor'.

The other type below is an apparently random patterns of knitted black lines like scribbles on a page.

However random these patterns seem they are in fact the result of controlled repetition, the same image or sequence repeated again and again to seem random.

Another body of work that I came across whilst working on this project was this series of large drawings made using a spirograph set by Lesley Halliwell.

I remember instantly liking the work when I saw an image of one of the works. I traveled down to an exhibition called 'Superabundant' in the Turner contemporary, Margate last year specifically to see some of the work in the flesh. When I did I was instantly struck by the effect of the continuous pen use on the paper, tearing and wearing it away in parts.

There are obvious similarities between my work and this series. The use of and effect of Biro on paper, the repetitive and obsessive nature of the work and the slight variations and problems encountered during the mechanised process that provides the individuality of each mark made.

I came across the work of Tina Jonsbu, in a really good magazine devoted to drawing called Fukt. Her images are delicate despite. However despite this fragileness there is a strong mechanical and mathematical feel. One of the first things that went through my head when I saw them was fractals.

The artist seems to start each piece with a divisional rule for each series of lines made. This results in the lines becoming closer and more compact until they cannot progress any further resulting in a culmination of the drawing producing a final dark edge. The mathematical feel of the work reminded me of the financial information being used to determine the frame work for some of my drawings. The finality present in the way each drawing comes to an end is similar to the culmination of my work kwhich is dictated to by the amount of ink in each pen.

To be continued.....

'Borrowed from my bank' installation for Hackney Wicked 10

2010-08-07T17:16:00.094Z

I exhibited a selection of work from the series ‘Borrowed from my bank’ during the Hackney Wicked festival last weekend. Thanks to everyone who came to see the work, it was good to get feedback from people I know and those I met for the first time. My studio is now back to normal as a work space allowing me to post a summary of my reflections gained from the experience.

I enjoyed the whole process and found being involved in the festival hugely beneficial. Not just in terms of developing contacts and promoting my work but as a vehicle to aid a review of the work thus far.

The open studio provided me with a deadline mid summer to work towards, to experiment with presentation and to review the work to date. It is very easy to become isolated when making work and it is important to periodically review your work in progress and get alternative perspectives.

Having the work within a white space with nothing to distract from it, seeing how or if the series works together, if it is balanced in its presentation, how each piece informs the series as a whole, was insightful. Having said that I did have to work within the constrains of the space and make decisions relating to presentation and editing which in a larger space would not have been as big a consideration.

The exhibition and the interaction I had with visitors raised a number of issues which will need further consideration, if the body of work is to realise its potential. Namely the types of imagery included and the use of text to accompany each work.

I placed the image titles and additional information about any graphs or financial information being depicted below each piece 30cm above the floor. The text was purposely small forcing viewers to look down and get closer to read it. This was intended to simulate the ‘small print' or terms and conditions to loans and accounts. This text was placed on the wall using letraset transfers. This was time consuming and surprisingly hard to track down a decent range in London. I decided on Letraset as it seemed the quicker option as opposed to getting vinyl lettering made. In future I would definitely go for the vinyl lettering as it would provide me with a much wider range for fonts/colours, size and uniformity of presentation.

This was the dry run of the small printed text and it became apparent that more thought and consideration relating to the content of the text needs to be paid in future. A more detailed explanation of information included in an image and its relevance to the recession and its impact on Joe Bloggs.

I found that when I took the time out to interact with visitors and explained the imagery behind a few of the works they were more engaged and took more from the work.

Due to the positioning of the text some people saw it and others did not. Although the longer an individual spent in the space the more likely they were to discover it. I do like the idea of making the viewer work for an understanding or to interact with the work to develop their own understanding. However in future I should find away to draw more peoples attention to the text. As the small size of the text is important perhaps the text needs to be higher than a foot off the ground or needs to be alluded to in any accompanying text on the wall. Perhaps the text should be just below the drawings and pens.

The titles for each of the drawings came from the text that appears on the pens used. I am interested in their use of text and slogans. The original idea was developed from the text on a Barclays pen that read 'Borrowed from my bank'. It has been suggested to me that the series could consist simply of photographs of the used pens.

I will experiment with this in the coming months as making high quality photographs of the pens is a process I will undertake to accompany the drawings in my portfolio and on my website. It is particularly interesting comparing the different pens from alternate banks. They vary greatly in apperance and writting quality. The pens themselves comment on the way an company views themselvers and their account holders. For me the most interesting pens come from Barclays simply because they made a point of supplying pens for free in branches. They produced a sereis of similar pens differing only in the slogan printed on the spine. Examples of these slogans are 'Borrowed from my bank', 'I'm free! Now theres a thought', 'Take me I'm yours', 'Write here write now' 'Bank Swag' and 'I used to be a plastic cup'. It reminds me of Barbara Kruger's text and image work which elludes to the prevailing material consumer culture of the time.

It also reminds me of the advertisement campaign produced for the British department store Selfridges, which borrowed Krugers iconic style and some of the original slogans. I wonder if the same ad company worked on the pen slogans for Barclays?

Another addition for future shows of the work is that of an introductory text to the work printed on vinyl again and placed near the entrance. I did supply press releases and an information sheet about the work but not everyone picked one of them up, however if the text was at eye level on a wall the majority of visitors would read it as long as it was the first thing they experienced and ensuring the text is short and to the point.

This is the introductory text that would be on the wall;

"Unfortunately like many of us, I owe money. In 2008 while at one of these banks I took a complementary pen. At home I began working out my monthly in-comings and outgoings with the intention of forming a repayment plan. I got frustrated and looked down at the pen I was writing with; the branded blue pen from the bank. Printed on the spine of the pen was the phrase ‘Borrowed from my bank’.

I decided to see how much ‘ink’ I could ‘Borrow from my bank’. I started to fill in each square on A3 graph paper until the ink ran out. I wanted to see if I could fill the page or not. In the same way I try to stretch my wages and manage debt each month. As the project progressed I started to use the ink to depict specific financial data related to particular financial institutions and their/our role in this recession. Each of the drawings in this exhibition used all the ink in the pen accompanying it."

One individual suggested that I frame the works, we had a discussion about this because I have had some of them framed before but have removed them because it didn’t work.

The project is about not having money, it is about getting into debt in order to facilitate a material lifestyle and high quality frames go against this. He did however suggest that I should try making some frames from scavenged wood or found frames which could be an interesting addition to the work and definitely something I will try.

The production of an accompanying book is something I want to spend time on, it would be in a similar vein to the leaflets, promotional material and financial reports disseminated by financial institutions.

I have over the past few months become keen on the idea of exhibiting the work in four different rooms corresponding to the four quarters of the fiscal year. This was something I did not feel could be developed within the studio space. The first quarter would be drawings where no information is displayed and the squares have been filled in until all the ink from that pen has been used up. The following three rooms would display a mixture of different financial information in the form of graphs and drawings based on photographs documenting the disquiet felt towards the banks.

The fourth room would be empty aside from a plinth. On the plinth would be a new sheet of graph paper and one of those chained pens where visitors could fill in as many square as they want.

During the festival to help make a dent in my own personal debt I produced a series of four ink jet postcards which were on sale and will be available soon via my site [www.davidblackmore.co.uk] for £1.25 each. The postcards are signed, dated and editioned on the reverse, the edition is limited to 2000. They were popular during the festival and if you wish to purchase one email me db@davidblackmore.co.uk . I will be setting up an online payment facility on my site soon and postage is free.

My next few blog posts will discuss some of the research I have done for this project.

Images in order of layout for the show are below.

Barclays
'Borrowed from my bank' 2008

LloydsTSB 2009
Graph of my personal debt owed to LloydsTSB over recent years.

RBS 2009
60% of page is filled with ink which illustrates the amount of the company which is owned by the UK tax payer.

BNP Paribas, 2010

Barclays
'Take me I'm yours' #1 2008-9
Graph of mean UK personal debt 1997 - 2007.

Halifax 2009
Sold Halifax - 'Working together with our community'
Graph of percentage increase in UK house prices 1990 - 2008.
Pre September 2007 Halifax was the UK's leading building society and provider of residental mortages and savings accounts.

Islamic bank of Britain, 2009

Creidt Agricole, 2010
Corporate and investment bank

Northern Rock, 2009
Northern rock share price June - 14th September 2007.
14th September date of the first British 'Bank run' in 150 years.

Deutsche bank, 2009
A passion to preform.

Allied Irish bank, 2010

HSBC 2009
Large circle illustrates HSBC's market value as of 2nd quater 2007. Inner circle illustrates the market value January 2009.

Nationwide 2010

Barclays'Unlimited edition' 2008

Barclays,

JP Morgan, 2009

2010
'I'm free! Now theres a thought'

Graph of JP Morgans Global Manufacturing PMI January 2007 - Febury 2009

PMI stands for Purchasing Mangers Index. It is used to measure or guage economic activity

Barclays, 2008-9'Take me I'm yours'

Chatroulette

2010-07-21T14:19:00.002Z

For those you who have never heard of Chatroulette it is a web site [chatroulette.com] that in theory allows people all over the world to interact via webcam. Apparently it was designed by a young russian man [Andrey Ternovskiy, 17] who got the idea from chatting to people on skype.

The site is very basic but addictive. As a platform for interaction with individuals the world over its interesting and as a procrastination tool it is annoying. However the majority of the glimpses into others lives consists of close ups of penises/torsos of all ages in a mechanical state of arousal. Interdispersed with all the self gratification are curious people of all sexes and ages. Although it has to be said that the majority of its content is male masterbation and advertisements for porn or live sex shows.

Since discovering this site I have been intrigued by its potential as a platform for making online interventions via web cam. I worked out how to send a still image through my webcam so that other users are confronted by my self portrarit with CCTV mask. It has been an interesting experince and the reaction of other users has been mixed. It is an appealing exercise being privey to peoples intial reaction to a non-portrait and disrupting someones attempts at self gratifiaction. This and similair sites seem to provide a new way of showcasing and diseminating work to a wider audience.

The structure of the site is that you are confronted by a web stream from someone else. You can then decide to interact via speech or text or you can simply click next to move on to the next view. Other users can do the same, resulting in an online brush off. With this in mind there has been some discussion about the decling use of email amoung youger internet users preferring instead to interact via public/proivate messages via social networking sites. The nature of chatroullette based on my experience encourages a short attention span. If something is not stimulating us in an agreeable way within 5 -10 sec we move on.

I am thinking of setting up a web cam in my studio when it is open to the public during the Hackney Wicked festival and broacasting it via chatroulette.

Open studio during the Hackney wicked festival 30 July - 1 August

2010-07-13T15:33:00.000Z

I am going to turn my studio into a small gallery during the Hackney wicked festival 30 July – 1 August.

I will be presenting a selection of drawings from a series entitled ‘Borrowed from my bank’. These drawings were made using free pens from financial institutions. This will be the first time the work has been exhibited, however a selection of them have been published in the Dutch newspaper ‘nrc.next’.

Further info:
http://davidblackmore.co.uk
http://www.rhiz.eu/person-33372-en.html [David Blackmore’s blog]
http://www.hackneywicked.com/

My studio will be open at these times
Friday 30 July [17:00 – 21:00]
Saturday 31 July [12:00 – 20:00]
Sunday 1 August [12:00 – 20:00]

Admission is free

For further information about the work or to request high res images contact:
me via db@davidblackmore.co.uk

2010-06-17T14:03:00.004Z

'Jack of hearts' - Rafiabd Al-Latif Tilfah, Al-Tikriti [Director of genral security]

I was recently given this card along with the ones below. They are, as I'm sure you have guessed from the “Most wanted Iraqi” deck of cards issued by the U.S army. I was struck by this one in particular because there is no face; no way of identifying the individual other than their name and job title. It got me thinking about the CCTV masks I have been working with. I was drawn to the card because it was different and within the context of its original use, redundant as a form of ID. It reminded me of the paradox that exists within the CCTV mask series, the masks are worn to conceal identity but by wearing a mask the user draws attention to themselves. People stop and look but even if you cannot see them you still feel that you are being observed more acutely than normal. In effect the wear is setting themselves apart from those around them and thus drawing attention to their person. It is as if that mask has the opposite effect and serves only to intensify the sense of being ‘watched’ and singled out rather that obscuring identity. I have largely worn the mask myself. However I have asked others to wear it and most of the time I meet an element of resistance, due to the cynosure that it attracts or is anticipated to coerce in the mind of the viewer. It reminded me of a text I read a few years ago about ideas surrounding the wearing of a mask in public, at protests etc... I have been searching for the original text recently but to no avail. I think it was either an editorial in a national newspaper about the issue in relation to G8 protests or an article in the catalogue for the exhibition ‘About face’ which was at the Hayward gallery in 2004.

2010-06-17T14:02:00.000Z

2010-06-17T14:01:00.003Z

The CCTV mask series is presenting a number of conceptual questions to me at present. As I have mentioned the protagonist in the experimental images has largely been me. Partly because it was easier to get images taken if I wore the mask as opposed to another and partly due to the fact I’m male a sex perhaps more prevalent in the majority of CCTV images that make their way into the public eye. If I continue to use myself, is the series a manifestation of my own desire for visual anonymity and my shy and introvert personality or my own difficulty with self portraiture. Which I feel hard to access because usually it is unavoidably about a specific individual perhaps by using the mask it is easier for the viewer to engage with the concepts surrounding the work, because they can imagine themselves as the protagonist due to the face being obscured and unfinished.

Or alternatively should the subject within the images be widened to include others and groups of people. Should more than one mask be worn after all usually a face obscured in CCTV footage infers innocence or non-relevance. An attempt to obscure viewer’s attention of irrelevant figures thus focusing attention on the wrong doers.

2010-06-17T14:00:00.001Z

2010-06-17T13:59:00.004Z

CCTV mask V.1 007

These images are from the first roll of film I have developed of the CCTV mask ^*. I am exploring how to create analogue images that look digital. For this particular roll I used cheap Kodak film and pushed it 2 stops for the grain and contrast. I also covered the len of the SLR with opaque plastic which I destressed in an attempt to create imagery which has the look of a low quality digital CCTV footage on film.

2010-06-17T13:58:00.001Z

Installation for 'Allotments' show at The Schwartz gallery, 2010

2010-05-21T22:51:00.000Z

This installation was made for the 'Allotments' show. Making work specifically for a show is not something I have done in a long time. Usually I have work ready before an exhibition opportunity presents itself. I decided to use the show as an opportunity to work on new ideas that I have wanted to explore for a while now. My original intention was to produce a trypch, however I only complete 2 parts in time for the show. The image above is of 20kg of coal. Each nugget was individually hand painted with gloss emulsion. The idea for this illogical activity was started when a former student of mine told me that her farther a solider had been ordered to paint all the coal on his base white prior to a visit by the Queen of England. Aside from visits by royalty; painting coal white was used as a punishment in the British armed services and National service. It was a tedious punishment worsened by the redundancy of the action. At least peeling potatoes while repetitive and tedious is of leading up to a practical use. The nonsensical nature of this task immediately struck me while the idea of changing the physical appearance of coal so drastically by superficially purifying it appealed to me. What I found most interesting was its use as a punishment to instill discipline.

2010-05-21T22:50:00.001Z

'The punishment fits the crime' installation detail, Allotments Schwartz gallery 2010

I am aware of the obvious racial connotations that painting coal white offers but for me this is not the main aspect of the work. It is not just the ridiculous nature of painting coal white that intrigued me but that act or the idea of it is a metaphor for artistic practice. Creating something out of nothing or changing the way the viewer looks at the world, challenging what is perceived as real and providing visual stimulus is what the artist is expected to do. The chinese state media once accused the Dali Lama of turning coal white. There is an association or assumption of magic to artistic practice as if an artist fullfills the role of a present day sorcaror or alchamist, possessing the ability to turn lead into gold. It is the magic of the creative process and the punishment an artist endures for taking this path. ‘as the artist is in the buisness of artifie and illusion ... even more compelling, to discuss the implications of futile labour and work ethic in the art market’ o'Reilly, Sally, 'Jochem Hendricks' , Haunch of Venison, 2007.

2010-05-21T22:49:00.002Z

Jochem Hendricks '5, 279, 063 Grains of sand' 2001

The desire to be an artist is seen by many as a self centred and egotistical pursuit. It is not perceived to be a ‘real’ job and it could be argued that it does not contribute to or touch society taken as a whole. Despite the best intentions of conscientious artists, art is largely the preserve of the middle classes. Art does not have the impact on all sections of society that people like to believe. Is the product of the artist redundant? in the grand scheme of things? is it selfish or egotistical when compared to occupations/vocations that have a more direct impact on the world we live in? An artist has to make sacrifices in order to follow this path, an artist is an outsider. Life choices work becomes life and compromises are made, financial security and a ‘normal’ life are all things that the artist gives up in return for space and time to create. What gives an artist the right to opt out of society's conventions

2010-05-21T22:48:00.003Z

Red biro - before and after ink has been used

2010-05-21T22:47:00.000Z

'The punishment fits the crime' installation detail, A3 graph paper and red ball point pen ink.

The second part of the installation is four A3 sheets of graph paper. A new red biro was used to fill in each individual square on the paper until the ink ran out. Again this is an illogical and tedious punishment like writing lines in school. Red ink was chosen to emphasise the ridiculousness of the task.

2010-05-21T22:46:00.000Z

'The punishment fits the crime' installation detail, A3 graph paper and red ball point pen ink part 1 of 4

2010-05-21T22:45:00.001Z

2 of 4

2010-05-21T22:44:00.000Z

3 of 4

2010-05-21T22:43:00.001Z

4 of 4

The pen eventually ran out after approximately a week of consistent and dedicated use. There is an obvious change in the feel of the biro as the dry nib scr5atches across the paper. However during the exhibition I noticed that visitors had added random squares to the final page. Over the course of the show any traces of ink that had been deposited inside the pen had moved down the spine of the biro enabling people to use the very last of the ink. I never thought visitors would attempt this nor did I think it was a possibility as the pen had stopped functioning . I do like the randomness of the viewer’s contribution of the piece and perhaps this interaction served to emphasise the duration and tediousness of the act.

2010-05-21T22:42:00.002Z

Installation view, 'Allotments' at the Schwartz gallery [2010] -

The third part of the installation was to be an image of a large rock and a pile of dust after the rock had been broken down by hand, which I am currently working on.

Allotments at The Schwartz gallery

2010-05-20T13:37:00.002Z

An event curated by Patrick Michalopoulos and Ismail Erbil
A collaborative project for the tenants of 92 White Post Lane, E9 5EN, Tower Hamlets Borough.

Eva Bachmann, Adam Beale, David Blackmore, Dan Bennett, Liam Bierschenk, Joe Childs, Nellie Clements, David Cochrane, John Devolle, George Eksts, Ismail Erbil, Suzy Harvey, Phillip Hennessey, Rebecca Jones, Genie Korrigan, Dan Linn, Isobel Manning, Harry Meadows, Kit Merritt, Patrick Michalopoulos, Narinda Minnaar, Luisa Mota, Paul Noble, Alice Palmer, Rose Pearl, Ffion Roberts,Ashling Smith, Holly Smith, Joel Somerfield, Georgina Starr, Russell Thoburn, Iro Tsavala.

Private View: Thursday 29th April, 6-9pm
Exhibition Dates: Thursday 29th April – Sunday 9th May
Opening Hours: Thursday-Sunday 12-6pm

Schwartz Gallery invites the tenants of 92 White Post Lane to participate in a unique collaborative project that divides the gallery space into 80 ‘plots’ or ‘allotments’ reflecting the number of units in the three buildings at 92 White Post Lane. These spaces will be chalked out prior to the works being delivered to the gallery and installed according to the artist/creator’s corresponding unit number. This event forms the gallery as ‘meeting point’ questioning notions of curatorial responsibility and artistic pedigree. Units not occupied by artists may wish to use this opportunity to create an artwork. Allotments not ‘claimed’ by tenants for whatever reason will be left empty. Anyone wishing to collaborate with an artist who is not a tenant at 92 White Post Lane may do so but only in the allotted space and only if the tenant of the corresponding unit is involved in the collaboration. In this way a grid of allotments will be formed that is structured yet undefined; relationships between artworks reflect a diversity of approaches to what art is and how it should be displayed and interpreted while promoting a sense of community. There will be a large allotment allocated for performers on the private view night. Each act will have to have at least one member/tenant of the buildings.

Easter rising - Graphic novel by Gerry Hunt

2010-04-27T13:48:00.003Z

GERRY HUNT Blood upon the rose Easter 1916

I was listening a radio show about the Irish Easter rising in 1916. It was a very interesting show which presented the facts delivered by a number of historians and rising specialists. The 1916 rising has taken on a mythical status in recent Irish history, the story told and retold through generations. It is an event in history that all Irish people know of from a young age but not many of them are aware of the actual facts. Taking part in the discussion was Gerry Hunt the author of the graphic novel above. The book was described a historically accurate. It is very interesting and I learnt a lot that I was not aware of. It is a great way of introducing people to the topic. The show also highlighted proposed redevelopment of O’Connell st and the Terraced houses off Moore st where the rising ended. Apparently the plan involves removing the facade of the Carlton cinema and attaching it to a new building down the road. This is to facility a new shopping centre! One of the guests on the Pat Kenny show made a very good point. In 2016 when the Irish nation invites the world to celebrate the centenary, they will be confronted by another shopping centre non-place.

DONT FORGET THATCHER

2010-04-22T16:39:00.004Z

DONT FORGET THATCHER.

I saw this stenciled poster around London recently and selfishly took down a copy for myself. Ever since childhood I have had a deep seated mistrust of the Conservative party based primarily on Thatcher. Even to this day it still exists.

CCTV mask verison 01

2010-04-02T14:32:00.000Z

CCTV mask V1 2010

I have been working on a series of masks that obscure the identity of individuals in the same way as faces are blurred in CCTV imagery. These images feature the first mask. The series of masks will recreate the different ways identities are obscured in released CCTV imagery. Other versions blur and or pixelate the wears face as opposed to totally blocking it out.

CCTV mask version 1 2010

2010-04-02T14:30:00.005Z

I have had this mask for a while and the impetuous to start the photographic experimentation came from the 'Postal camera' project. These 5 images are digital test shots for the 5 35mm frames on the disposable camera.

act shot on 5x4" sheet film.

CCTV mask version 1 2010

2010-04-02T14:29:00.000Z

CCTV mask version 1 2010

2010-04-02T14:28:00.000Z

CCTV mask version 1 2010

2010-04-02T14:27:00.001Z

I have become increasingly interested in the rise of digital imaging technology and the decline in or death of traditional silver halide photography. I am increasingly drawn to the idea of creating images shot on analogue but appearing to be digital, in the same way that the Cracked LCD's I have been working on do, they look primitive and digital but are in fact shot on 5x4" sheet film.

2010-04-02T14:26:00.000Z

Faceless

2010-04-02T13:57:00.001Z

Hand in hand

2010-03-23T13:59:00.001Z

CCTV self portrait 2010 001

2010-03-16T16:03:00.004Z

CCTV self portrait 10 001

A while ago I received a disposable camera from at student at Westminster, alongside the camera was a hand written letter asking me to take one self portrait and then pass the camera on. Eventually when the camera is full it is to be returned the sender. I have not taken a self portrait in a long time and the idea of doing so was daunting. I only had one shot and I didn’t want it to be predictable. So the camera has been haunting me until I came up with an idea. The image above is a test shot I made using a compact digital, this is what I was after with the disposable, fingers crossed. A friend of mine took the image while I posed. He has the camera now, who knows where it will travel on its way to completion. I like the idea of cameras arriving unannounced and challenging the recipient.

Walton ford at Hamburger banhoff

2010-03-13T14:41:00.003Z

Walton Ford -

On a recent trip with students to Berlin I saw the Walton Ford show at the Hamburger Bannhoff. I had never come across his work before, but it was one of the best exhibitions I have been to in a long time. I have never seen watercolours treated, worked and built up in this way before. The extensive series of large and larger paintings take their inspiration from a range of colonialist, zoologist, anthropological and explores diaries. Each piece of text describes an encounter with exotic animals from the lands of the other, describing an instance where man has observed the cruelty of nature or the cruelty resulting from mans exertion of dominance over the wild. The images are literal descriptions of the text but act as a series of allegories and metaphors for the West's destructive influence on the work manifesting itself in colonialism, globalisation and their effect on the environment. Humans are domesticated animals and we have in effect raped the world of its resources and exploited it for the good of the machine we have created.

I recieved a camera in the post

2010-03-08T11:02:00.002Z

Received postal camera 001 -

I gave a talk to 3rd year photography students at the University of Westminster recently. A week or so later I received a disposable camera in the post. I initially thought that it was one of the ones from the 'Postal camera' series that are making their way through different peoples lives. However it wasn't, it was from a Westminster student Sarah Howe. She has asked me to take one self portrait and pass it on to another artist/photographer and on until the camera is finish and then to be returned to her.

Waiting for Godo

2010-02-27T12:29:00.001Z

Waiting for Godot theatre ticket -

Ireland is known for its cultural contribution to literature, I studied the Irish poets like Kavanagh and Yeats at school but I never experienced Becket or Joyce. Obviously I knew who they were but aside from what they looked like, that they were writers they emigrated and their reputation. I knew nothing of their work..... Actually I tell a lie I had read Joyce’s ' A portrait of the artist as a young man' during my last year in Dublin. The first book I read when I moved to London was another Joyce book, of short stories called 'The Dubliners'. My first experience of Becket was a ‘Wafting for Godo’ a few weeks ago. I didn’t know what to expect although the idea of waiting is something that intrigues me, dead time, non-time, and stasis. Is the idea of waiting similar to the effect of travel through non space? Where the mind subconsciously or consciously recognises the stasis it is habituating and therefore allows the mind to wander to places of the mind that have been neglected or that are not the unusual bill of fare? Sometimes there can be a silence in waiting and peacefulness where the present or the awareness of it seems heightened. The act of waiting leads the individual into this? Who is Godo? My first interpretation was that Godo is death, release from the habit or habituality of existence “habit is a great deadener’. A friend of mine, who in a previous existence was an actor and now a different type of artist, spoke to me about the fact that we all live in a continual present. We have no physical presence in the past or the future as we are ever present in the now, is that our habituality? We live in the present but continually anticipate the future and contemplate the past. So when we are in the act of waiting sometimes we forget about the past or future and fully experience the moment and the mind wanders to the philosophical side of human existence.

Postal camera project no. 1

2010-02-25T10:25:00.004Z

The first of many is sent on its way. I didnt include peoples names on the instructions, just address's, so collaborators will not know who they are receiving the package from and send it to. I am excited to see what comes out of the project and who long it will take to get back to me? MAy be 35 days?

Postal camera project

2010-02-22T13:17:00.002Z

Postal camera instructions -

click on the image to view larger version and intro text to project. If you start your own chain please email us at postalcamera@googlemail.com

Welcome to the postal project. This is a pass the parcel collaboration between artists, linked by friendship and the photographic medium. This is about spontaneity, intuition and freedom from technical restraints.
There may be other cameras moving around now but there will definitely more in the future. If you feel the urge please start another chain [let us know by emailing us on postalcamera@googlemail.com
All parts of this project will be displayed via a dedicated website a series of artists books.

Information on the camera.
Good idea to use flash
Not sure what the ISO is [probably 200]
flash works best from 1- 3 meters between subject and camera.

Before starting please read the rules below.

Rules
• 5 frames per person
• Make a note of the Frame no. when you receive the camera and again when you have finished. Use the white card stuck to the back of the camera to record this info.
• All frames on the camera will be displayed and treated as an equal.
• If you take a picture by accident it counts as 1 of your 5.
• When finished make sure you wind on. Otherwise the next person will think the postman used one.
• Please re-use the packaging. You may need to repair it. [The package and the journey it goes on is part of the work.]
• There is a small cost for your participation, the cost of postage to the next address on the list.
• Each participant within a chain can request a copy of the resulting book made using dry lab 6x4 prints. This will cost £6.50 [to cover printing, camera and postage]. The number of these book produced will be limited to 1 per participant per camera.

The Fir tree 2010

2010-02-14T16:33:00.002Z

Disposable camera book 001 - Discarded Christmas trees, Berlin 2010. -

While in Berlin I noticed old Christmas trees in the street everywhere. So I bought a disposable camera and used it to photograph each one I encountered. I used the prints I got back from the chemist to make a small book. I will continue to work with disposable camera to make book like this. I love the immediacy of working in this way. I have since found out that there is a story written by Hans Christian Andersen called 'The fir tree', which tells the tale of the life of one fir tree from the forest to the living room to waste. To read the story please copy this link into your browser hca.gilead.org.il/fir_tree.html

Disposable 'x' marks the spot , Berlin 2010

2010-02-02T13:40:00.001Z

Disposable 'x' marks the spot , Berlin 2010

Went to Berlin for a few days and left something behind

Lcd installation, Pixxelpoint 09 Mestna galerija Nova Gorica , Slovenia

2010-01-04T14:47:00.002Z

Cracked LCDs installation - Pixxelpoint 09 Mestna galerija Nova Gorica , Slovenia - Curator Domenico Quaranta.

I would have liked to have gone to Nova Gorcia for the show. Especially as this is the first show where I have exhibited non photographic work.

Proposal supporting material for Pixxelpoint 09

2010-01-03T14:49:00.002Z

Installation “I have been working with broken liquid crystal display (LCD) screens for the past year. These broken LCDs are salvaged from the latest digital devices, appliances such as laptops, phones and cameras. These technologies play a large part in our modern daily routines and have almost completely replaced analogue technology in industry. I am drawn to the idea of a primitive image being created through accidental damage that renders an advanced device useless. It is as if the LCD reverts to an earlier stage of technological development. This body of work catalogues and questions the place of obsolete technology in art and

contemporary life'.

Artist proof print for Biographica, NCPA, Piramal Gallery, Mumbai, India.

2010-01-02T21:25:00.001Z

LCD print for Biographica, NCPA, Piramal Gallery, Mumbai, India.

Test strips

2010-01-01T21:48:00.001Z

Test prints for Biographica exhbition in India

Disposable 'x' marks the spot , Hampshire 2009

2009-09-16T21:58:00.001Z

X marks the spot, Hampshire, England. September 2009

Disposable an ongoing project

Fits and bursts

Berlin

Edit pile

I found this flower in Tate Modern

Dispoable 'X' artist book [Berlin 1st February 2010 - 23rd June 2011]

Hit and run crime scene, New years day 2012

Shooting in Dublin

The death of analogue

A little girl using a touch screen tablet then tries to use a magazine in the same way.

Out of service

'Disposable' at The Margate Photography festival

Argon Magazine, Issue 1

Guerilla snowfall in Riga

The Virgin mary appears in Wimbledon

Interview with Rachel Thomas for Argon Magazine

Interview by Richard Hering during Hackney Wicked 2011

Open Studio - Hackney Wicked 2011

A-L-L-O-T-M-E-N-T-S 2011

ReCollection

Group show, 'Long way to Paradise', at the PhotoIreland and Belfast Photo Festivals

I have work in a group show coming up entitled 'Long way to Paradise' which is part of the PhotoIreland Festival. The exhibition has been curated by Barry W. Hughes, the editor of the journal Super Massive Black hole.

The show opens on 15th July at Filmbase on Curved Street, Temple Bar, Dublin and runs until 31st July after which it travels to Belfast for The Belfast Photo Festival [4th August - 12th, August 2011]

http://2011.photoireland.org/p​rogram/long-way-to-paradise/

http://www.belfastphotofestival.com/exhibitions/long-way-to-paradise

Another year over

'Self help' [2010] at Voorkamer, Lier, Belgium. 21.05 - 02.07.11

Royal wedding street party on Wilton way 29th April 2011

A bank in Bethnal green, London

R I.P

Disposable series

Development of 'Self help' at the Schwartz Galleries Project space

Forthcoming exhibition-New work 'Self help' at the Schwartz galleries Project space

'Borrowed from bank' - research part 1

'Borrowed from my bank' installation for Hackney Wicked 10

Chatroulette

Open studio during the Hackney wicked festival 30 July - 1 August

Installation for 'Allotments' show at The Schwartz gallery, 2010

Allotments at The Schwartz gallery

Easter rising - Graphic novel by Gerry Hunt

DONT FORGET THATCHER

CCTV mask verison 01

CCTV mask version 1 2010

CCTV mask version 1 2010

CCTV mask version 1 2010

CCTV mask version 1 2010

Faceless

Hand in hand

CCTV self portrait 2010 001

Walton ford at Hamburger banhoff

I recieved a camera in the post

Waiting for Godo

Postal camera project no. 1

Postal camera project

The Fir tree 2010

Disposable 'x' marks the spot , Berlin 2010

Lcd installation, Pixxelpoint 09 Mestna galerija Nova Gorica , Slovenia

Cracked LCDs installation - Pixxelpoint 09 Mestna galerija Nova Gorica , Slovenia - Curator Domenico Quaranta.

I would have liked to have gone to Nova Gorcia for the show. Especially as this is the first show where I have exhibited non photographic work.

Proposal supporting material for Pixxelpoint 09

Artist proof print for Biographica, NCPA, Piramal Gallery, Mumbai, India.

Test strips

Disposable 'x' marks the spot , Hampshire 2009

http://2011.photoireland.org/program/long-way-to-paradise/