Curtains

Digital Restoration and Recreation Curtains, Palazzo Mocenigo, Venice

Within my practice there is a tension between the photographic image and its eventual form. One continuing body of work concentrates on returning photographs back to their three dimensional subjects, capturing movement and the fall of light in the process so that the recreated object encapsulates time, as well as space. The three dimensional objects are recreated using images made fluid and flexible by liberating them onto fabric; the photographs and object becoming encapsulated in time.

The importance of the single photograph appears challenged today in the plethora of imagery that surrounds us constantly. It is as if today everything is photographed with little attention.The digital recreations have the elements of a sculptural experience with a ‘new’ fall of light on to their surfaces, an invitation to draw close and touch, an inability to take it in, in one glance, a need to view from all sides activating the sculptural imagination and the senses to absorb its appearance.

Representations of curtains in art history invite thoughts about concealment and revelation along with allegory and interpretation. A photographic image, taken of the curtains in the Palazzo Mocenigo, Venice, was enlarged to its full original size and printed back onto fabric. It was then hung, as a curtain, on the exhibition venue wall.

Whatcombe Bodice

I carried out a ‘virtual’ restoration of an extremely rare and fragile seventeenth century bodice,

resulting in a three-dimensional restored replica as a document, for museum purposes. Photographs recorded the three-dimensional details which were then used to restore the bodice by digitally reapplying the surface decoration. The ‘restored’ images are then printed onto fabric and the bodice is reconstructed using both references to the bodice itself and to relevant historical patterns.

Someone Else’e Things

‘Someone Else’s Things’ series, considers the replication of an object and the relevance of its source. Drawn to rare or, potentially, obsolete ‘found objects’, they are digitally reconstructed; their associations consider the past, the future and possession.

Earlier Work

Earlier digital reconstructions.