"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
"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 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
"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
“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
“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
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.
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.
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.