“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
“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
"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
“I was given some contextual background to Auriol’s translation of Sam’s piece that I initially thought I would base my translation on. However I felt unable to translate her narrative and realised I would only be interpreting it. Ultimately I turned to a material translation to translate some of the key themes of her work. Taking inspiration from translations such as Hölderlin's Antigone and Christian Hawkey’s Ventrakl, I hope my material translation can convey Auriol’s piece to you.”
“My translation into a three-dimensional ceramic object continues the core narrative of the resampling of the environment and the suggested ownership of a natural object. I constructed a chalice-like ceramic vessel and fired it using combustive fuel harvested from the seashore, which leaves a carbon imprint on the body of the ceramic. Within the temple-like structure of the kiln I attempted a reprocessing of materials abundant within the seascape of my hometown Folkestone.” http://mattroweportfolio.co.uk
"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
"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
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
Visual Representation: The Portus Project has explored the creation of alternative methods for representing interpretations of the site, and the methods employed on the project, and for delivering these online, in exhibitions, publications and on site. This has included the production of computer graphic models, and also collaboration with professional photographers and with artists. For example, Rose Ferraby produced a series of screen prints reflecting archaeological processes such as geophysics and aerial photography in use at Portus. We have also looked at early plans of the site, including that of Rodolfo Lanciani and Italo Gismondi, and are currently examining contemporary Roman representations of the port, in particular the reverse of a sestertius of AD 112-114 showing the Trajanic basin and surrounding buildings., with Bernard Woytek (Institut für Kulturgeschichte der Antike der Österreichischen Akademie der Wissenschaften).
Data Capture: The Portus Project has worked with technology consultants and researchers to develop and evaluate various methods for capturing archaeological data. These include methods for recording buildings such as laser scanning and gigapixel imaging, and objects, including photogrammetry and Reflectance Transformation Imaging (RTI). We have also experimented with novel capture tools such as Microsoft Kinect and wearable cameras like Looxcie and GoPro as a way of enhancing information exchange and student involvement in the research process.