Fine art photography

Andrea C Morley

  • Home
  • Projects
  • Essays
  • About
Home / Essays / 2020

Share
06/07/2020

Three years on... BYOPAPER! PHOTOGRAPH, PRINT, PASTE. NUIT DE L’ANNÉE / FRIDAY 7 JULY 2017 Papeteries Étienne – Trinquetaille 

FLASHBACK… on Friday 7 July 2017 the Papeteries Étienne, an abandoned paper mill located in Trinquetaille, was brought back to life to host the fabulous NUIT DE L’ANNÉE. Both photographic promenade and late night party, this buzzing annual event takes place during the opening week of Les Rencontres d’Arles. Only one month before I had received an invitation to exhibit. What a night!

NUIT DE L’ANNÉE 2017 kicked off just before the sun set with the third edition of BYOPaper! Curated by Les Rencontres d’Arles and Fisheye magazine BRING YOUR OWN PAPER exhibited thirty photo projects, pasted, yes with wallpaper paste, on the exterior walls of the Papeteries Étienne. Selection allowed me five metres of wall space to exhibit ten 30” x 24” blue black paper prints from the series terra incognita, instructions stipulated I bring my: ‘prints, glue, brush, roller, sponge and cutter’...

A unique experience! I spent a super fun afternoon pasting up my prints in the hot southern sunshine followed by a memorable night celebrating with peers, discovering photographers and photography, screenings, and dancing and drinking of course! 

Thank you for the opportunity Sam Stourdzé, Annaëlle Veyrard and Fisheye.

PRINT SALES

In acknowledgement of what would have been the opening week of Les Rencontres de la Photographie 2020, now CANCELLED, LIMITED EDITION print sales from the series terra incognita #01 to #10 will be available via #artistsupportpledge PLEASE DM TO CHECK AVAILABILITY.

30” x 24” blue black paper prints (poster) from a digital file £35 plus postage and packing 

5” x 4” unique hand print on fuji crystal archive matt from original 5" x 4" reclaimed negative, edition of 1 £150 plus postage and packing

BACK STORY

A place called Lost: The distance of time, indelible impression and an amalgam of illegibilities, impasses and obscurities have tangled the real with the experiential and the imaginary. The landscape of childhood is my tangible reference - my uncharted territory is psychical. 

Working with my 5x4 view camera is slow and contemplative. I identify location, position and orientation. Set up, level, attach the lens and open the shutter. A black cloth shuts out the light and more, I compose in quietude. I frame my image upside down and back to front through the ground glass and focus. I measure light, set aperture, calculate exposure time, close and cock the shutter, load the film carrier, remove the dark slide and expose using the cable release; counting aloud the seconds my shutter is open, I break the silence. I replace the dark slide and remove the film carrier. A considered process and for this project, undertaken in winter. 

Production of Fuji FP100c-45 ceased in 2011, although initiatives seek to develop a ‘new’ instant 5x4, all prototypes to date have been deemed too expensive or too challenging to manufacture. Through this knowledge of obsolescence, each capture is imbued with an intensified preciousness. My processing technique facilitates a reduction of control - an unknowing, as important to the work as the land I photograph. Post-capture my instant positive exists purely for reference. Visible only in transience, it is the trace impression on the redundant backing that I reclaim. In its fragile state, wet with chemicals, immediately vulnerable, this is my negative; the scratches and scars endured overtly visible. When dry, I tape face down and remove the opaque emulsion. This negative is not fixed, there is no method for fixing therefore no guarantee of longevity. For this reason, the mark of time defines each darkroom print unique. I do not attempt graphic representation or wish for literal reading. I aim for resonance and affect.


Share
16/06/2020

#artistsupportpledge

Q. I want to support artists. How do I do it?

A. Buy art. Go to #artistsupportpledge and see what you like. Buy some more art. Then buy some more art.

Remember after £1,000 of sales, the artists are pledging to buy other artist’s work, so you are supporting a network of generosity which is much greater than the sum of its parts.


I WILL CONTINUE TO POST DETAILS OF LIMITED EDITION PRINTS FOR SALE VIA  #artistsupportpledge #andreacmorley PLEASE DM ME FOR ENQUIRIES. 

LET GENEROSITY BE INFECTIOUS! 

#supportartists #covid19 #coronavirus #livegenerously   



Share
30/05/2020

A selection of my work can now be purchased via #artistsupportpledge Have you heard about this innovative instagram initiative?

It's really quite brilliant!

Due to the COVID-19 pandemic, many artists have found themselves without work; teaching, technical support, gallery work, exhibitions and sales have all but disappeared. In an attempt to help alleviate some of this fallout, Matthew Burrows instigated #artistsupportpledge 

The concept is a simple one: Artists post images of their work on Instagram which they are willing to sell for no more than £200 per piece (not including shipping). Anyone can buy the work. Every time an artist reaches £1000 in sales, they pledge to spend £200 on another artist's work. 


So, if you’re an artist or maker, to pledge, post your work with #artistsupportpledge giving details of the work and price. And, if you’re interested in buying, message (DM) the artist. Anyone can buy the work and artists don't need permission to join. Follow the # to see everyone else's work and keep updated on new opportunities and announcements @artistsupportpledge 

Please repost and tell your friends, colleagues and collectors. 

LET GENEROSITY BE INFECTIOUS 

#supportartists #covid19 #coronavirus #livegenerously 

Share
27/05/2020

The JULIA MARGARET CAMERON AWARD

The JULIA MARGARET CAMERON AWARD is an open submission for pro and non-pro women photographers. Selected work from the 2020 15th edition, judged by Elizabeth Avedon and Mona Kuhn, will be exhibited at the 6th Biennial of Fine Art and Documentary Photography in Barcelona, date to be confirmed. I am delighted to have received an HONOURABLE MENTION for my series terra incognita in the ALTERNATIVE PROCESSES CATEGORY. 

Please DM for print sales enquires THANK YOU #juliamargaretcameronaward #fotonostrum #theworldwidephotographygalaawards #elizabethavedon #monakuhn #biennialoffineartanddocumentaryphotographyinbarcelona 

'My aspirations are to ennoble Photography and to secure for it the character and uses of High Art by combining the real & Ideal & sacrificing nothing of Truth by all possible devotion to poetry and beauty.' Julia Margaret Cameron to Sir John Herschel, 31 December 1864.

Share
17/05/2020

PLANS FOR 2020 HAVE REQUIRED A RE-THINK AND RE-WRITE FOR US ALL...

PHOTO LONDON AND THE RA SUMMER EXHIBITION HAVE BEEN RESCHEDULED FOR THE AUTUMN, VOIES OFF AND LES RENCONTRES D'ARLES HAVE BEEN CANCELLED FOR THIS YEAR. PLANS FOR 2020 HAVE REQUIRED A RE-THINK AND RE-WRITE FOR US ALL.

Early last May I was prepping a Satellite exhibition for Photo London 2019 and coordinating framing and delivery for RA Summer Exhibition 2019 shortlisted work. One year on, with gallery closures, fair postponement, festival cancellation, unessential travel restriction and social distancing a daily reality, I have accepted that my Photo London Satellite opening of chevaux sauvages 43º22'32"n 4º48’37”e must be abandoned physically. My re-think and re-write is to postpone, yes of course but also to somehow acknowledge my intent. So, as an alternative to inviting you my dear friends and colleagues, I will enlighten you a little on the back story... 

On a road trip across the marshlands of the Rhône delta in 2005, my childhood equine obsession was stirred. Celebrated for their endurance and courage (and close in form to those depicted in France’s ancient Lascaux cave paintings), the indigenous horses of the Camargue, represent some of the oldest equine blood on the planet. I was adventuring with my kids, then aged 5 and 8, no stopping though, we were heading to the beach. I vowed to return sometime. 

I did, somewhat briefly, early summer 2017 with my youngest daughter as companion. A fortuitous opportunity, I was exhibiting at les rencontres de la photographie pop-up BYOP and before leaving Provence-Alpes-Côte d'Azur, we decided to take some ‘time out’ at the beach. On the D570 (direction Saintes-Maries-de-la-Mer), marshland and native horses are the prevalent windscreen landscape. I made a few stops for reconnaissance shots but time was challenged and I really wanted to get closer than roadside capture could achieve. 

I arrived back in London with the filmic aesthetic of Albert Lamorisse (Crin Blanc, 1953) and Denys Colomb de Daunant (Le Songe des Chevaux Sauvages, 1960) in my mind. I began research with the objective of negotiating access. Late summer 2017 I returned, access granted and chevaux sauvages 43º22'32"n 4º48’37”e - a series of nine fine art prints, evolved. 

My sincere thanks to Gwenael Wasse at Tour du Valat, Claire Tetrel at Parc naturel régional de Camargue, Lydie Catala and Emmanuel Vialet at Domaine de la Palissade. I could not have made this work without their invaluable assistance and support. 

I remain curious what measures will be secured to ensure the horses remain at semi-liberty in the Camargue marshes and wetlands, and within this context, what the definition of a future 'liberty' is? Forward planning is currently on hold for all of us, my project will continue post-pandemic when freedom of movement allows. 

 The Camargue/Delta du Rhône is a UNESCO Biosphere Reserve. 

PRIOR TO MY POST-PANDEMIC RESCHEDULED SATELLITE EVENT chevaux sauvages 43º22'32"n 4º48’37”e LIMITED EDITION PRINT SALES ARE OPEN. FOR ENQUIRES PLEASE DM ME.

Price list. 24” x 20” aluminium mounted (with subframe) archival pigment print - £900 / 24” x 20” archival pigment print unmounted - £700. Limited editions of 10. Price excludes shipping. Bespoke framing available on request. 

 THANK YOU FOR READING, PLEASE SHARE AND KEEP SAFE!


View all essays by month
  • Home
  • Projects
  • Essays
  • About
All content © Andrea C Morley 2020   |   Instagram   |   [email protected]