‘I see, I feel, hence I notice, I observe, and I think.’ (Barthes)
Borrowing ideas of selected value from traditional archival processes, this exploratory practice uses photographs and negatives removed from their previous, now redundant, context in order to change the reading and association between the viewer and the work. The images chosen by the artist seek to refocus the viewers’ attention through reconstruction and manipulation. These haptic and visceral interventions obscure, disrupt and restrict the photograph or print to create new connections and interpretations by layering and removing elements of the image. Controlling and denying the wider context and narrative accessible by the viewer makes visible the artists’ own intuitive reaction to that which is seen.
Using discarded images to interrogate reverence, Barthes’ concept of ‘punctum’ is adopted as a reaction to the material and image. Preserving, destroying, repurposing and duplicating the images of others seeks not to recreate or orchestrate a specific response, but to question what an image can offer when the consequence of prior knowledge is removed.