Fahy, Su (Maxine Watts, Director Reclaim Photography West Midlands, 2016-04)
This submission is an archived collective project which we brought to the UK in 2016 - this project's documentation is archived on line in - www.reclaimphotographywestmidlands.com Reference 2016 Festival. Reference 2016 Gallery Print Catalogue (26.'Family', su fahy.
Fahy, Su (Sarah Bodman , CFPR UWE, Bristol www.bookarts.uwe.ac.uk, 2016-04)
World Book Night takes place each year on 26th April and is an International Event .WBN Collective of which I am a member produce works in association with the Centre for Fine Print Research at the University of the West of England Bristol , UK , each year.Each year the practice outcomes are shared publicly online - https://vimeo.com/164111118 and a publication / artefact is produced in a limited edition, www.bookarts.uwe.ac.uk/events/wbn2016.html This year the artist's book / folio Serena Joy has been accepted for the Tate Artists Book Collection at the Tate Galleries in London
Fahy, Su (Auckland University of Technology, 2016-06-29)
How does a whole society or nation remember or forget the age of analogue film photography and its methods of documenting memory and identity? Inspired by procedures such as the sixteenth-century artificial memory systems presented in the writings of Frances Yates, I examine in my research the workings and subversions of memory through appropriation and reworking of fragments from the analogue photographic archive. The material photographic print reminds us of fugitive memories of family, events, wars, propaganda, the role of witness and visual testimony. I construct new artificial memories from the gleanings of the flea market, second hand shops, the attic, the shoebox, and archival researches. The objects I encounter offer a haptic visual prompt for new works that pose questions of memory and artificial memory, and identity within the visual ecology of a fast-eroding analogue tradition. I present case studies that demonstrate the intimate scale and fragility of such photographic scraps, showing my re-working of found objects to create small visual series accompanied by narrative encounters with each of the photographs. In the process, I also indicate the unique contribution of studio culture in this complex tentative multisensory interrogation.
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