Island Life
| dc.contributor.author | Timberlake, John | |
| dc.date.accessioned | 2008-10-09T10:31:21Z | |
| dc.date.available | 2008-10-09T10:31:21Z | |
| dc.date.issued | 2003 | |
| dc.identifier.citation | In: Galerie Sabine Wachters, Golvenstraat 11, B-8300 Knokke-Zoute, Belgium | |
| dc.identifier.uri | http://hdl.handle.net/2436/38813 | |
| dc.description | The sequence comprised large-scale photographs of constructed dioramas tracing a fictional location through the passage of centuries. This time, however, the dioramas were of an imagined rocky shoreline, painted and constructed according to a series of varied painterly conventions (early C19th seascape in oils, C20th western photo-realism, futurist Manga or Anime and so on). A solo exhibition of 7 C-type photographic works of painted dioramas. | |
| dc.description.abstract | This sequence of photographs expanded upon some of the themes of constructed landscape and fantasy touched upon in the “Another Country” series in the context of the fictional construction of time and place. This time in the context of a sequence in which the shifting conventions of painting were deployed as a signifier of that which could not be photographed directly. The photographs explored tropes of the overlooked or marginal depopulated landscape, and combined this with imagery of the seashore (a repeated trope in fantasies of time travel) to represent in a sequence of photographs the ‘as yet unphotographable’, the passage of time over several hundred years. In this the series addressed the relationship between painterly realisms and the evidentiality of locational topographic photography. | |
| dc.language.iso | en | |
| dc.relation.url | http://www.wlv.ac.uk/Default.aspx?page=15917 | |
| dc.title | Island Life | |
| dc.type | Digital or visual media | |
| refterms.dateFOA | 2019-12-05T13:11:37Z | |
| html.description.abstract | This sequence of photographs expanded upon some of the themes of constructed landscape and fantasy touched upon in the “Another Country” series in the context of the fictional construction of time and place. This time in the context of a sequence in which the shifting conventions of painting were deployed as a signifier of that which could not be photographed directly. The photographs explored tropes of the overlooked or marginal depopulated landscape, and combined this with imagery of the seashore (a repeated trope in fantasies of time travel) to represent in a sequence of photographs the ‘as yet unphotographable’, the passage of time over several hundred years. In this the series addressed the relationship between painterly realisms and the evidentiality of locational topographic photography. |
