Posters
Poster sessions present preliminary results of works in progress or projects that lend themselves to visual displays and representations. These sessions allow for engagement in informal discussions about the work with interested delegates.
Imaging Planet Air: How Atmospheric Images Make Air an Object
Poster Session Rebecca Jones
What do we see when we try to picture air? Do we see clouds or storms? Do we picture it being drawn into our lungs as vital oxygen, carrying away carbon dioxide? Do we see complex, swirling systems of gases and pollutants traveling around the entire globe? Air can mean and be many different things, sometimes all at once. Its instantiation depends heavily on the media through which it is encountered and thought about. This project explores how the object and meaning of air is made through images; how the use of different visual media create air as a different object, be it a chemical composition, material environment or political object. Air, to the embodied senses, is often invisible, beyond the range of bodily sensibilities. When it becomes visible to the body it is always something more than simply air; it is wind, cloud, smog, etc. However, with the inclusion of technologies that extend the human senses, for instance remote sensing technologies, air is made visible as an object in itself; an object that is specifically material and political. This research looks at how the extension of senses and the data thereby produced are turned into images that not only change what air means, but what air is. Using examples, such as atmospheric models, maps, and statistical charts, I look at how the visualisation of air quality data feeds forward to change what counts as air.
Architecture of the Print
Poster Session Rebecca Howard
My practice as research considers the photographic print as a tool for re-imagining and transforming architectural space. I use sculptural methods, including folding to interrogate the spatial and material dynamics between architectural and photographic form, questioning the perceptual issues intrinsic to these mediums. I am currently developing a site-specific approach to the practice which places the photographic print in direct relation to built spaces. For this exhibit, I would like to create an installation of photographic prints, using the conference space as the subject for the work. In this sense, I hope to create a dialogue between the photographic print and the actual space.
Fictional Internal Space: Truth and Fiction Imbedded in the Photographic Process
Poster Session Susan Leigh Moore
The photographic image is both a form of fiction and a reference to the real. The camera image depicts a representation of the subject. Currently, in my studio practice, I am building that subject, architectural maquettes from paper mat board. I use artificial lighting to create space and depth in the models and then photograph using digital equipment. In these minimalist images of empty places, the quality of light becomes the visual grounding for the paper structures. A narrative emerges as light defines the physical characteristics of the space, and implies a metaphor for experience and life. The process of making and photographing models of spaces, real and imaginary is of particular relevance in contemporary culture where the veracity of images is continually in question. Throughout the history of photography, the artist has explored these issues. Alongside my creative practices, my scholarly work includes research into artists such as Lori Nix, Thomas Demand, and James Casebere. With this work, I will make a visual and aesthetic comparison grounded in the history of photography.
