Catalogue, A New Vision of Printmaking (2018), written in English, Spanish and Chinese Ice Ice baby (2018) Projected video, reversed ice crack (Perito Moreno)
Horizonte (After Hito) (2018) Photo etchings on fabriano rosaspina paper, shelf 80 cm x 30 cm (h)
Wonderer aims to establish connections between the U.K and Greece and considers how different cultural, philosophical and historical interpretations of our solar system can be re-imagined from a contemporary art platform. Wonderer will also house 30 works that were successful in our Stars open call.… Read More
https://www.artchaeologyproject.com/ Self Portrait (archaeologist) 2017, Negative of analogue positive, blue tone C-Type Print, 110 cm x 250 cm- work in progress
This piece, Allá, is a press transferred photographic print of a double exposure on Japanese paper that explores the nature of landscapes as an artificial construct. It forms part of Victoria’s continued research into the experience of place as a fictional and narrative encounter. Using… Read More
Lightness of Being is a photo etching created from combining an analogue silver print positive with a digital photograph, which was then exposed and developed onto a metal plate in the landscape itself. Working in situ meant allowing entropic traces to become imbued on the surface of the plate, to mark my encounter with the disappearing landscape. The ephemeral beauty of the place belies its traumatic history as a place of political disappearances. In using both historic and contemporary processes I am looking to depict a new imagined landscape that creates a dialogue through time.
Part of the Analogue Festival London, exploring how analogue photographic, film and sound-based processes interact with digital technologies, curated by Melanie King and Diego Valente of the Alternative Photography Collective London.
In addition this print was exhibited at the RA Summer Show 2017. As an invited artist this year I was selected by Rebecca Salter to participate in the RA Summer Show. This piece was hanging in Room V of the Royal Academy. They were available in an edition of 25 each, 60 cm x 45 cm.
___________________________________________BURNING WITH PLEASURE #3 Artists’ Books Exhibition Exhibition Dates 1 – 16 September 2017 | Photofusion 8 – 30 September 2017 | Seen FifteenLaunch Party 8 September 2017 | 18:30 onwards | Seen Fifteen From September 1-16, Photofusion will be co-hosting the third annual… Read More
Selected from the RA Summer Show by Norman Ackroyd who has invited me to participate in this show at the Zillah Bell Gallery in Thirsk, Yorkshire from the 9 September to the 14th October 2017.
C-type print of Larsen ice shelf crack, 90 gsm paper Part of the exhibition Le Coq Artiste, at Q Park, 38-42 Whitcomb street, London Weather Vain (2017) Film still, video projection 5 mins looped, car park wall THE WEATHER VAIN PROJECT Climate change denial is… Read More
Part of my PHD show at the Peltz Gallery, Birbkeck School of Art. Deconstructing the disappearing landscape and reshaping it. Installation views of some of the iterations of my thesis on the translation of forms from analogue to digital. For a read through my thoughts here is the abstract:
This research is centred on the notion of landscape as a construct of marginal and multiple dialogues. It is a project that originates from a rediscovered family album of (fading and yellowing) photographs of the Latin American landscape at the turn of the 20th century. In particular a set of photographs that centre on the Paraná River in Argentina, a place where myth, recent history in the form of narratives of the Desaparecidos (those ‘disappeared’ by the military junta 1976-1983) and memory collide. An early analogue photograph of the river has sparked a series of creative interventions that explore the interstices between photography and printmaking, fragmenting the initial image in order to create new hybrid photographic prints using photo-etching and photo-transfer processes, projections. The return of the material to the flat surface of the digital is of critical concern, as the ‘uncanny’ surface is turned into a haptic object more in keeping with printmaking practices and early pictorial photographs. This leads to questions about the pictorial outcomes of these experiments, their affective resonance and the enactment of the hand-made, where touch and ‘noise’ return to the surface of the print as a resistance and response to discourses of acceleration and reproduction, remembering and forgetting. The theoretical and practical methodology is cyclical, and the multiplicity of layers of discourse appears both in the printed multiple and in the multiple voices I use to discuss the project in writing. The research is timely, as digital practices and the internet continue to accelerate the dissemination of the networked image, and speed up our relationship to photographs and prints, I aim to slow them down, in order to discover what is lost or gained in the process, both in practical and theoretical terms. In the ruin of the analogue photographs I use, therefore, a new ruination and expansion of the surface occurs as I develop my photographic plates at the site of the river Paraná itself. In the encounter with the landscape, the forensic traces of Argentina’s political disappeared (now part of an ongoing forensic anthropological investigation at sites along the Paraná) create latent marks on their surface and these invisible fragments serve to embed disruptive historical narratives into the process of making itself, as the river becomes the site of convergence. These geographical and metaphorical bodies of water that have been distorted, disappeared and ‘ruined’ (both by a history of dictatorship cover ups and photographic memory) are able to reappear as latent and liminal image-objects in an open ended encounter with multiple narratives of the river.
Frontier (2016) C-type print of press transferred positive on Hahnemule paper 210 cm x 108 cm What lies beneath (2016) C-type print on Hahnemule paper 210 cm x 108 cm Part of the auratic translations of images from the 1930s on the river in Argentina,… Read More
Jian Zhou curated the show at the China Academy of Art in Hangzhou as part of Impact 9 Printmaking Conference 2015. The show is now open at Times Art Museum, Beijing and will be touring to Changsha and Shanghai later in the year. My piece,… Read More
Folded Paraná (2015) Photo etching on fabriano rosaspina paper, 80 cm (h) x 150 cm From the series of photo-etchings exposed and developed on the banks of the Paraná with water from the river. The last known resting place of thousands of Argentina’s political disappeared… Read More
New print sculpture of abandoned logging sheds along the Parana river (50 cm x 70 cm), handmade prints on fabriano rosaspina paper, cut and mounted on acid free book covers
New c-type prints on Japanese awagami paper, 210 cm x 108 cm – photographic negative The title refers to the fact that new evidence has emerged in recent years stating that islanders in the Delta region of Argentina lived for years during the Dirty War… Read More
West Yorkshire Print Workshop Gallery exhibition, 10th January- 7th February 2015
Here are some initial combination prints/photoetchings of my research on the Delta, an hour from Buenos Aires. The plates and photographs were taken, exposed and developed on the river (with river water), so that the subject matter of the prints, and their making, create a… Read More