| Field |
Value |
Language |
|
dc.contributor.author |
Fahd, CR
https://orcid.org/0000-0002-3404-1535
|
en_US |
|
dc.date |
2014 |
en_US |
|
dc.identifier.citation |
Plinth Piece |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/122241
|
|
|
dc.relation.ispartof |
Plinth Piece |
en_US |
|
dc.title |
Plinth Piece (PORTFOLIO) |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.for |
1905 Visual Arts and Crafts |
en_US |
|
utslib.for |
1203 Design Practice and Management |
en_US |
|
pubs.embargo.period |
Not known |
en_US |
|
pubs.organisational-group |
/University of Technology Sydney |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design |
|
|
utslib.copyright.status |
closed_access |
|
|
pubs.consider-herdc |
false |
en_US |
|
pubs.finish-date |
2016 |
en_US |
|
pubs.start-date |
2014 |
en_US |
|
pubs.rights-statement |
The staged photographs in "Plinth Piece" arise from the field of photographic self-portraiture. Central to this research is the history and role of the 'body' in photo-documentation, specifically the nexus between photography and sculpture through the role photography has played in transforming the pictured body. Traditionally, photographic documentation played a 'straight-forward' 'indexical' role in picturing the body. However, the Surrealist photographers of the 1930s and 40s understood how to manipulate the indexical nature of photography by exploiting its relationship to the real to create images of the body that were both 'real' and 'unreal'. A hybrid digital approach was untaken in the investigation of this relationship. By developing the Surrealist's analogue methodologies through a combination of digital and analogue means I was able to exploit what theorist Rosalind Krauss called 'the special relationship that photography has with the real'. Rendered in a 'play-doh like substance, the figures appear as the antithesis to traditional sculpture in marble and bronze. This work was initially exhibited at Galerie Pompom, Sydney. A single work was selected as a finalist in the Bowness Photography Prize (2014), and another was acquired by the Art Gallery of New South Wales and subsequently included in the curated show New Matter: recent forms of photography (AGNSW, 2016). Three works from the series were also curated into the exhibition Constructed Worlds: Zalhlka, Stacey, Rrap, Ferran, Fahd (2015). Price Waterhouse Cooper acquired four works for their collection, and three were acquired by Artbank, an Australian Government initiative. |
en_US |
|
pubs.rights-statement |
The staged photographs in "Plinth Piece" arise from the field of photographic self-portraiture. Central to this research is the history and role of the 'body' in photo-documentation, specifically the nexus between photography and sculpture through the role photography has played in transforming the pictured body. This is significant for many forms of contemporary visual communication. Traditionally, photographic documentation played a 'straight-forward' 'indexical' role in picturing the body. However, the Surrealist photographers of the 1930s and 40s understood how to manipulate the indexical nature of photography by exploiting its relationship to the real to create images of the body that were both 'real' and 'unreal'. A hybrid digital approach was undertaken in the investigation of this relationship. By developing the Surrealist's methodologies through a combination of digital and analogue means I was able to exploit what theorist Rosalind Krauss called 'the special relationship that photography has with the real'. Rendered in a 'play-doh like substance, the figures appear as the antithesis to traditional sculpture in marble and bronze. The series was initially exhibited at Galerie Pompom, Sydney. A single work was selected as a finalist in the Bowness Photography Prize (2014), and another was acquired by the Art Gallery of New South Wales and subsequently included in the curated exhibition New Matter: recent forms of photography (2016). Three works from the series were also curated into the exhibition Constructed Worlds: Zalhlka, Stacey, Rrap, Ferran, Fahd (Grace Cossington Smith Gallery, 2015). Works have been acquired by Artbank and Price Waterhouse Cooper. |
en_US |
|
pubs.rights-statement |
The staged photographs in "Plinth Piece" arise from the field of photographic self-portraiture. Central to this research is the history and role of the 'body' in photo-documentation, specifically the nexus between photography and sculpture through the role photography has played in transforming the pictured body. This is significant for many forms of contemporary visual communication. Traditionally, photographic documentation played a 'straight-forward' 'indexical' role in picturing the body. However, the Surrealist photographers of the 1930s and 40s understood how to manipulate the indexical nature of photography by exploiting its relationship to the real to create images of the body that were both 'real' and 'unreal'. A hybrid digital approach was undertaken in the investigation of this relationship. By developing the Surrealist's methodologies through a combination of digital and analogue means I was able to exploit what theorist Rosalind Krauss called 'the special relationship that photography has with the real'. Rendered in a play-doh like substance, the figures appear as the antithesis to traditional sculpture in marble and bronze. The series was initially exhibited at Galerie Pompom, Sydney. A single work was selected as a finalist in the Bowness Photography Prize (2014), and another was acquired by the Art Gallery of New South Wales and subsequently included in the curated exhibition New Matter: recent forms of photography (2016). Three works from the series were also curated into the exhibition Constructed Worlds: Zalhlka, Stacey, Rrap, Ferran, Fahd (Grace Cossington Smith Gallery, 2015). Works have been acquired by Artbank and Price Waterhouse Coopers. |
en_US |
