Above is a LANDscan of Graffiti approx. 15ms long on a fence in Corydon in Sydney
“LandScans – Landscapes of Unnatural and Natural Beauty” explores the merging of art, architectue and landscape in the production of new work to engage the viewer. I have coined the term ‘photo-geo-ethnography’ to encapsulate the landscape and lived environments reflected in the works and the process used to create them.
Through embracing the technology of a hand held scanning tool I have expanded my sensory perception of the world and thereby my art practice. I use the scanner to reveal ‘haptic’ perception of where I am. The scanner is not just a tool but an extension of myself. Just as one would extend a hand to engage with a landscape or cityscape I move effortlessly with the scanner over surfaces recording a band of images for future use and inspiration.
The impetus for this work has been my recent OZCO residency in the UK where I was exposed to completely new environments evoking strong visceral responses. The LandScans produced during this residency expose the residue of human engagement. As raw and intimate renderings of place they present ‘proof of life’. Building layered memories of place, the resulting images challenge the notion of ‘what you see is what you get’.
Factors, both intentional and unintentional, which could not be known at the moment of capture, influence the final composition of the images. These images range from the natural to the urban; from the ethereal images of daisies atop the white cliffs of Dover to the gritty micro-tableaus of urban existence scanned from the streets of Liverpool. There can be a powerful layering of experience in the juxtaposition of these images for both maker and viewer.
There is great potential for the development and presentation of LandScans, across diverse mediums to create a new dialogue regarding not only how we view, touch and capture landscape/cityscape, but also how we recreate that experience for the viewer.
Reanimating these experiences of place and translating memories of experience into artwork is the challenge I have met in mounting this exhibition.
The term ‘haptic’ is derived from the Greek haptos (adj.) or haptein (verb), meaning ‘to lay hold of’ or ‘pertaining to the sense of touch’. (Minogue and Jones 2006)