Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts

Saturday, 9 March 2013

Philadelphia, Little Rock, Edinburgh

Don't let them rob you of the only thing you know
and You know your problems ain't exactly new
at 110 Church Gallery in Philadelphia
 © 2013 Heavy Bubble
This week, I have seen photos from the two exhibitions my work is currently featured in. On the west side of the Atlantic, the lovely people from Philadelphia's 110 Church Gallery are very good at documenting their shows. I've borrowed one of their photos from their current show Natural Selection for this post. It is really nice to see my paintings in their space, as well as the people attending the exhibition opening. You can see more here – including my name on the window!

Below the surface at
SSA Annual Open
© 2013 Pat Bremner
On the east side of the Atlantic, my mum visited the Society of Scottish Artists Annual Open Exhibition 2013 – apparently their 116th such exhibition – and sneakily grabbed a couple of photos of my piece, 'Below the surface' on the wall there (thanks mum!). Quite why the SSA and the RSA before them both think that my work looks best next to the floor is a something of a mystery to me. Not that this strange coincidence matters, because I'm thrilled to have been selected from among what I believe have been record high numbers of entrants, to be shown in two such prestigious exhibitions. I can't wait to soon see this one with my own eyes!

We took the quiet roads
Mixed media on canvas, 76x101cm
© 2013 Megan Chapman & Stewart Bremner
Also this week, Megan Chapman and went on a two hundred mile journey to deliver all of our remaining joint paintings (and three more of Megan's) to Boswell Mourot Fine Art, a lovely gallery in an upmarket area of Arkansas' state capital, Little Rock. There are only eight of our joint paintings remaining for sale in the world and, as hard as this is to believe, this will be their first time in a commercial gallery! We've got high hopes for their future! (I think, possibly, this also means that I am maybe, sort of, kind of, represented by a gallery in the US – however I might be over egging the pudding now!)

East Davidson
Cyanotype on paper, 6x6cm
I've been in Arkansas for two months on this trip, two months that have flown by. When I arrived here, I intended to take it easy, after a very full and busy year and I absolutely managed to do this: not only have I not so much as lifted a paint brush, I hardly even posted here. I did, however, manage to fit in some analogue photography experiments, shooting on film every day of my visit, hoping to document the typical American town that I once again found myself in. I even tried making some tintypes and a series of cyanotype prints, including the one here.

In the middle of next week, I will be returning to Edinburgh and, once I do, I suspect that I had better knuckle down. It may well be time to get serious (again)!

Saturday, 22 December 2012

I feel fine

Mirk ceety sax, originally uploaded by stewartbremner
I've not done too well at keeping my blog regular this month. The winter is closing down now and daylight is in short supply. It has been a dark time and there has not been a great deal of action around my studio.

However, rather than dwell on what has not happened, instead here is what has being going on in the time when I've not been in the studio. Firstly, I've been getting reacquainted with analogue photography, shooting rolls of film and developing them in my kitchen sink. You can see the results in the video below. After that is a little something I wrote this morning.







I feel fine 

He is lying, half asleep in bed, when the sound wakes him. It is sudden and large and unexpected and shocks him into full wakefulness. His heart races. The window of his bedroom was rattled and there was a pulse through the the whole flat. The sound was as if a skip was dropped, breaking its chains and falling to the ground a few streets away, a full, metallic-edged 'tum'.

With open eyes he looks about his dimly-lit winter bedroom, while his heart slows down again. He is warm in his bed, several blankets and a few jumpers giving more insulation that his duvet alone. Did he imagine that sound, he wonders, was it some kind of hang over from a night of fitful sleep, of strange awakenings and twisted bed clothes? Pondering this, he gradually becomes aware of the slow decrease in the sounds of the city that his flat swims within.

The traffic sounds like it has ceased, its constant white noise gone as if it were the middle of the night. So too he can hear less sounds from his building. This further oddness gives him pause to wonder and he decides to risk a venture through the cold air to the window, to look out into the morning.

Outside, everything looks normal except the sky. The sky is gone. He has seen something a little like this before, often times when clouds blanket his city for days on end, reducing the sky to a monotone. This is something else again and a real shock. The sky is white, with not any tone at all, not even the slightest shadow. It is simply empty, a softly-glowing white void, neither warm nor cold, just white.

It is like a door opens in his mind. A dim and overlooked portal that seemingly has been within him always and yet until this moment had been overlooked, as if to focus on it were the equivalent of trying to grasp the last sliver of soap in a long and hot bath. And now it opens and knowledge slowly pours out.

He opens the curtains fully, crosses the room and gets back into his still-warm bed. So this is it, he realises, and he feels an acceptance that borders on joy. The REM song he had listened to the day before with something akin to irony comes back to him and repeats and repeats in his inner ear.

And I feel fine, he thinks.

From where he lies, he can see a few other tenements, dark and damp stone, that is oddly shadowless under the all-encompassing soft white glow. He catches in his peripheral vision a bright flash of pure light from one window and he knows, knowledge no doubt from that same unexpected stream, that someone has moved on and that he has only to wait for his turn and he will too.

It is comforting knowledge. There is nothing to fear here, he realises. This is the end and he has accepted it more easily than seems likely. In many ways, it is a relief – his fight is over and now he is simply waiting his turn, waiting for his flash of light.

The universal consciousness and 'we are all one', those appealing ideas that might be grasped intellectually yet as an island were always instinctually difficult, have come to pass. It all seems so obvious now. His loved ones, family and friends, all the people he has ever known, quite literally everyone, is returning to whence they came, to that single all-encompassing origin.

Further knowledge comes to him now. "Ye canny take it wi' ye," that phrase so often spoken about the dead. Here now is the point when everyone comes to understand that idea, to realise the utter finality of that statement. All the worldly possessions, all the accumulations of power no longer matter. If there is a judgement here, and while he knows there is not, at the same time he doubts all will share that belief, if there is a judgement here, it is that everyone is, unequivocally, equal.

For so many, the realisation dawns about the utter futility of years spent accumulating wealth and power and in those minds, acceptance and joy gain no foothold against hatred, terror, disbelief. So many people out there must be questioning their lives at this very moment, he thinks. At the same time, he thinks, the majority might be feeling that this is their reward for enduring and that the religious will perhaps be savouring their judgement days, valhallas, armageddons and raptures.

Back in his room, he is on his own and in the silent morning feels only a long-sought peace. He thinks back to his childhood, to the dark spectre of nuclear holocaust that haunted it, to the months, if not years, of nightmares and interrupted sleep and to that desperate desire to be near his mum and his sister at the end, when the bomb dropped, to not be separated and alone. A fear that when all the way back to his youngest days, when he first learned of death and dreamed of his mum, dad and sister all dying at once and drifting away into the sky on a big bed.

That desire not to be alone at a time of crisis, that quintessentially human need for companionship, has been washed away on this final morning, cleansed from his mind. He realises, in fact, that he is not alone and that where he is going, everyone will be together, every spark of life that has driven humanity will be reunited. While there is a diminishment in that final embrace of those things that make him specifically him, at the same time he knows that 'he' will not be lost, not entirely, that those identifiers that form part of who he is are eternal.

He closes his eyes for a moment, to breath. When he opens them the flash of light whites out the entire world.

And when he opens his eyes again, the morning is dim, barely passing enough light around his curtains to let him see the room. It sounds like it is raining outside. His stomach is empty and rumbling and there is a burning tension across his shoulders and up into his neck, which feels chilly outside the heap of blankets on his bed. He wonders again what that strange noise was and it if truly happened and then, with a sigh that feels like it came from decades hence, he swings his legs from out of the covers and reaches for some clothes. 

Friday, 2 November 2012

Iteration/span

I have been involved in several collaborative projects in the past decade, working in music, painting and photography. The processes involved have always been rewarding, bringing together aspects of creativity and communication. In some ways the surrender of a portion of control in these projects is in some ways comparable to that which I have written about previously when experimenting with chaos and order.

This week, one of my recent collaborative projects has come back to life, with the publication of iteration/span. This attractively-designed square books collects for the first the entire project that Craig Munro and I worked on over the winter of 2010-11, which was subsequently exhibited in May 2011 at the Fayetteville Underground.

Blind conviction
© 2011 Bremner & Munro
In the book, you can see how our photography for the project developed. Everything is documented here, from the first trial films, through to our intense redscale images, via wide an assortment of films types. In all we shot twenty-nine films, producing 330 photos, with every film given two pages to show their progression.

As well as this array film, the photos chosen for the exhibition have been given whole pages to themselves, giving these curious and baffling images space to once again be properly considered. There is also a six-page essay at the back of the book, containing all the background information on the project anyone could wish for.

What I especially enjoy about this book, is how easy it makes turning the photos upside down. It has never been this easy to see both sides of every photo!


Each book is printed on demand and usually arrives within two weeks of your order being placed. I recommend searching for Blurb coupons before making your order, as often they offer percentage discounts or free shipping.

Enjoy!