Monthly Archives: June 2015

Clare Strand: performance photography

Clare Strand's Getting Better and Worse at the Same TimeGrimaldi Gavin Gallery, London, are currently showing Clare Strand‘s latest photographic works (ends 6 June 2015), which they describe as revealing “Strand’s discordant relationship with the photographic medium, exploring its promise and limitations through unexpected and eccentric means.” Such a description has me rubbing my hands in anticipation and I wasn’t disappointed: I loved the sense of directed play and the irreverence towards “art”, which is something I wasn’t expecting at a gallery situated in an area of London renowned for being rather affluent and well-heeled.

Although there isn’t much time left to see the show, leaving it until the end has the advantage that you will see more output from The Entropy Pendulum. This pendulum has a foot designed to scour the surface of a print in a central stripe. The print is changed each day and the one from the previous day put on display in one of the 35 waiting frames. The original images are not Strand’s but have clearly been chosen for their centred composition, which means the pendulum abrades and corrupts the original meaning, giving it a new meaning. Although I could intepret the images individually I couldn’t make any sense of the sequence, narrative or developing concept, which I think is a trick missed. Though it’s entirely conceivable that it was just me who missed this final point.

Clare Strand's Entropy Pendulum and the display of resulting prints

Clare Strand’s Entropy Pendulum and the display of resulting prints

The Entropy Pendulum in action

The Entropy Pendulum in action. I was attracted to the dust generated by the abrasion of the print’s surface

Rubbings is as close as Strand gets to conventional photography: she photographed the bifurcation points of trees, printed them life-size then pinned them back on the trees for a time thus letting nature create the art, and she photographed the prints on the trees from a little further away. On display were the now-weathered prints from the trees twinned with the record of the work in progress. As an experiment in random decay it’s OK I suppose, but what elevated it for me was its unintended juxtaposition with the concurrent exhibition by Robin Maddock and Benedicte Kurzen at TJ Boulting Gallery, which I saw the same day (see my review here). The latter also examined time/decay of photographic objects, and the two works together were particularly resonant.

The Happenstance Generator went even further into randomness with a selection of small images blown about as if by the wind followed by a short period to allow them to briefly settle before being blown about into another random sequence.

The Happenstance Generator

The Happenstance Generator (and a strikingly red sofa)

The Hapenstance Generator maintenance log

The Hapenstance Generator maintenance log. Not content with playing with photography, Strand is also happy for us to see the artwork warts-an’-all!

As a microcosm of the random images we see everyday blurring past us and occasionally visible to our conscious mind, it makes its point well. I had expected to see a random display of images that the viewer could develop a story from during the quiet dwell time of the apparatus but unfortunately the dwell time was too brief for me to grasp more than a couple of images before they were whisked off again into the vortex of the machine, which is a shame because a small adjustment to the timer could have allowed this extra level of interaction and engagement of the viewer’s imagination. So a great concept falling just short of great implementation, well for me at any rate.

There were a couple of other works on show but I’ve gone on long enough. I call her art Performance Photography in the sense of performance art and in this too she is pushing forward conceptually. Suffice to say that I think Clare has a playful and insightful imagination that resonates with my own ‘world view’, and I look forward to seeing more of her work!

Shine Ur Eye: walking a tightrope

In the basement of the T J Boulting building in London is a crypt-like space used for photo exhibits. Currently (until 27th June 2015) there is a chimeric show from photographers Christina de Middel, Benedicte Kurzen and Robin Maddock that is well worth a visit. In the first gallery are photos  from a collaboration that has produced a pictorial essay of Nigerian daily life. But this isn’t documentary  or reportage, rather it is a mix of straight, manipulated, fictional and surreal images. It treads a tightrope between reality and fiction, between sanity and madness. It is playful but never demeaning to those depicted or Nigerians in general. At the end of the display the viewer is left on another tightrope: on one side is an invitation to visit on the other a health warning!

Shine Ur Eye main space

The main gallery is wonderfully decorated with wall wallpaper.


Attached to the main gallery is a dark low-ceilinged space and entering it is like passing through a portal to another land. Here we find images in various stages of decay from the Museum of Lagos’ archives. The original images are photographs of ethnographic objects that have been stored inappropriately and so are showing signs of decay, reflecting the care/priority that the museum and by implication the Nigerian government gives to preserving its heritage. With faces dissolving back into the Rock they were carved from and mould creeping around the edges of basketwork, we also have the generic metaphor for the eventual, inevitable decay of all cultural evidence thus questioning what the value of an archive really is.

the second gallery at T J Boulting

The crypt-like space showing semi-decayed images from the archive of the Museum of Lagos.

There are two exhibitions here, related by geography but separated by time and concept. Do try to make the time to see them both if you are in central London.