Riley wrote the poem in the wake of her son’s death but never published it. It plays on the many meanings of the word ‘Still’: 'still' as ‘quiet’, as 'continually', as 'constant', as 'even though', etcetera. Even though the poem deals with death, Riley assured us that the shape of the funerary urn was created quite accidentally by centring the words on the page.
Read more about 'Still' by Denise Riley
“Taking the lead from Sam and his interest in the connections between the natural and digital world, I reflected on the idea of my instinct and relation to technology. Last week I had a Caesarean birth followed by a week of rigorous monitoring. Every night over the last year I have also plugged a catheter bag onto my eldest son. I translated the medical objects and fragments from the experience into an image that used printmaking, drawing and collage.” http://kitestudios.org/
Read more about (c) Auriol Herford, no title, translation of Sam's image, 11-18 March 2015:
"Still immediately reminded me of a book I’d recently read discussing connections (and tensions) between the natural and digital worlds. These ideas provided the basis of my understanding, deciphering and transformation of the poem. The ‘translation’ process was initiated by converting ‘Still’ into computer binary code. Adapting the outcome I endeavoured to capture the essence of ‘Still’ in a single image. I am neutral and non-attached as to the success of this process and wish my fellow artists an interesting and rewarding match." www.samtreadaway.com
Read more about (c) Sam Treadaway, 'Techno-Techno-Techno-Techno', translation of 'Still', 4-11 March 2015:
“Translators ordinarily shift things into their own language. Hence I have made a drawing of a photograph using a technique developed over the last couple of years, but with a slight difference. I took the photograph I was sent and edited it to make sixteen square images that, when assembled would resemble the image I was given, but this time as a drawing. The thing I made is a drawing, but for the purpose of this exercise, I assembled individual scans of the drawings into a jpeg in PhotoShop.” https://bryaneccleshall.wordpress.com/
Read more about (c) Bryan Eccleshall, 'Master Square', translation of Katarina's image, 25 March – 1st April 2015:
"Although I have stayed close, in compositional respects to Bryan's work, there is a gap through which something other has slipped in. I looked intensely at Bryan’s image, wanting mine to enable me to conjure the ghost of his. I assembled my visual signs – techniques, symbols and material processes that are my own native creative language - and started making actual objects and photographing them, then created a digital collage from these. On my computer, Bryan’s image had a blue cast, which is reflected in my translation.” www.sarahsparkes.com
Read more about (c) Sarah Sparkes, 'Gap between the nothing', translation of Bryan's image, 1-8 April 2015:
Sharon's full translation of Sarah's work is a short animation, which traces the journey into the mirror and back. “I live in two languages, haunted by a third. There is constant movement as a word thought in one language passes into a spoken word in another. This happens in the life between one image (another’s) and another (mine). An image, precisely thought, is – and passes through – a mirror. This is quite a literal translation of the image that preceded it (the gap or void, the blue cast that is taken from the image before, the decorative detail that might be supposed to be feminine). It is impossible to keep completely still, even when caught or fixed.” www.sharonkivland.com
Read more about (c) Sharon Kivland, no title, translation of Sarah's image, 8-15 April 2015:
"We took an element from Sharon's image (the black rectangle) and made this into a physical object. We then photographed the object in a location echoing/paralleling Sharon's image (a canal as moving mirror in reference to Sharon's video), contemporary artists' studios (the warehouse). Finally we took inspiration from the quality of Sharon's image itself (a printed reproduction) and digitally printed an object onto the photographed object to produce a crude figure (artist or model).” www.juneauprojects.co.uk
Read more about (c) Juneau Projects, no title, translation of Sharon's image, 15-22 April 2015:
“I responded instinctively to the image, being particularly drawn to its formal composition and context – where the sculpture had been photographed and the objects that surrounded it. I sought out similar locations, photographing various elements, using a mirror to interrupt, reflect and deflect what I saw. I then manipulated and collaged some of the images together – layering and modifying them in
Read more about (c) Heather Connelly, no title, translation of Juneau Projects' image, 22-29 April 2015
"I wanted to represent Heather's vision of water, sky and leaves. Taking the clouds directly I fused them with a tree. I interpreted her plant pots as the domestic element; at once giving the plants the love they need to grow but also asserting ownership of natural things. So in my translation the pots became a human holding tight to the tree. Where Heather repeated the plant pot motif, I took the lights on the horizon of my original seascape and floated them into the sky as stars. The image is a collage of three of my own photos (involving long exposures) and one element of Heather's image.” www.brionycampbell.com
Read more about (c) Briony Campbell, no title, translation of Heather's image, 29 April – 6 May 2015:
“A funeral urn? Cremating, containing or representing the body? Black. Luminous. A sinister fairy tale. Hand made and performative. Air and fire inside the body as vessel. Air as breath. Internal and external. Containing and representing air simultaneously? Transforming ‘air’ into a solid ‘thing’. I perceive the central part of the vessel in Matt’s photograph as being made of glass. The colour, beauty and fragility of the projected, reflected colours in my film-still is as if it is to be seen as, or made of, glass. Just before it melts.” www.annacady.com
Read more about (c) Anna Cady, no title, translation of Matt's image, 13-20 May 2015:
“I perceive Anna’s image as a metaphor of wish and desire, but also of nostalgia and melancholy. The hand waiting for someone or for something to hold, or maybe just to be held. It reminded me of a photograph I bought in a flea market, which showed an arm from the same angle and a hand holding a child’s hand. I took that piece of the picture and drew it separately to express my own feelings. Then I reproduced the atmosphere in Anna’s picture, which I found very close to the nostalgic feeling I wanted to show, a feeling linked to a memory.” www.domingomartinez.es
Read more about (c) Domingo Martínez, no title, translation of Anna's image, 20-27 May 2015:
This is a typical 2¾x3½” framed tintype where the specificity of the seaside is hardly signified. The sea wall is used as backdrop, which was a common device in early seaside photography. The wall provided a natural light diffuser, thus preventing over exposure in harsh sunlight. The intergenerational group of sitters are dressed formally and relationships signified by the subtle touch of the central man’s hand on the shoulder of the seated female.
Read more about Family Group, Tintype, circa 1880
Goatcarts were popular Victorian entertainment rides for children at the seaside and these two boys typify similar images circa 1880. They do not smile, the cart is still and the sea wall offers a stark and static backdrop for the camera’s slow shutter speed. Images such as this, whilst commonly referred to as tintypes are actually ferrotypes – a direct positive image on enamelled iron.
Read more about Two Boys in a Goatcart, Tintype, circa 1880
This is a seaside ambrotype – a glass plate positive image. Ambrotypes were from the 1880s largely superseded by the American imported tintype. It was obvious to see why, the tintype whilst in many ways inferior, was cheaper, lighter and obviously far more durable than glass. Clearly pragmatics such as cost, speed and material resilience took precedence. But both ambrotype and tintype offered instant gratification – photographs taken and finished while the Victorian client waited.
Read more about Family Group, Ambrotype
This unframed tintype is taken at the coast, with the beach and sea wall present. To further indicate place, seaside paraphernalia of buckets, spades and bonnets are either held or laid out. Indicative of somewhat slapdash photographic practice, the fishing net pokes out absurdly from the father’s head. The image is at once formal, but made informal by the (mis)placed net and further ‘softened’ by the boy in the back row beginning to move into a half-smile.
Read more about Unframed Family Group, Tintype
This typical family grouping interestingly includes the photographer’s own darkcart / darkbox in the upper portion of the image. This handcart held not only all the paraphernalia required to produce the photograph, but also acted vitally as a darkroom. On the side of the cart, as we see here, would be displays of previous portraits and thus such simple wooden handcarts functioned as hybridised studios, dark-boxes and galleries on wheels.
Read more about Family Group with Photographer's Darkcart, Tintype
This unsmiling family group show yet another of the photographer’s tools - the diffuser. This would be used to soften fierce sunlight and eradicate harsh shadows. Whilst the mother and father collectively hold the child steady, the photographer’s assistant can be seen at the edge of frame holding the improvised diffuser. Usefully for us, the photographer has unintentionally captured not only the equipment, but also the assistant’s legs and the diffuser’s clear cast.
Read more about Family Group with Photographer's Diffuser, Tintype
While the smile might be absent or restrained in early commercial seaside photography; tenderness is not. Surviving modest ambrotypes such as this of a mother and child on the steps of a bathing machine, counter connotations of the ambro’ and tintype as disposable shoreline amusement. Rather than cheap seaside ephemera, a revised consideration might be offered, whereby these modest portraits became important affordable keepsakes.
Read more about Mother and Child on a Bathing Machine, Ambrotype
If seaside photography was taken for amusement, then somewhat paradoxically the three women seen in this ambrotype (sitting directly on the sand and in front of large bathing machine cartwheels) look far from amused. This is typical. These early beach portraits show the clients repeatedly dressed in their best clothes and despite the location of production, the Victorian sitter sought a dignified representation that echoed studio portraiture.
Read more about Three Women by a Bathing Machine, Ambrotype circa 1870
This ambrotype shows how norms are plastic and how these 19th century itinerant seaside images are an important material demonstration of representational shifts in portraiture. The couple, sitting closely together suggest a more relaxed presentation and in the woman we see a hint of a smile.
Read more about Couple on the Sands, Ambrotype