CATHERINE JACOBS
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Everyday Awe photographic series - new and ongoing
Everyday Awe is a new series of ephemeral, staged photographic works referencing everyday experiences of awe and how psychologists are beginning to research  and position them as key emotional states associated with prosocial behaviours.
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Suggestive of commercial flights in our age of climate emergency and pandemics.Above and Beyond are open-ended, staged photographic images are part of the Everyday Awe series  
Inviting consideration of the psychological benefits of cultivating awe experiences \In Wonderment 1 is an open-ended, staged photographic image that is part of the Everyday Awe series. 
Inviting consideration of the psychological benefits of cultivating awe experiences Awesome is an open-ended, staged photographic image that is part of the Everyday Awe series. 
 In Proximities Photographic series
‘In less than a century we go from the enclosed city profiled against the horizon of a fairly cultivated countryside, to the spectacle of the big city from which our eye can no longer  escape’  Antoine Picon, Anxious Landscapes ​
This series of  staged, ambiguous  photographs celebrate diverse readings of the notion of being contained in a city scape.  Playing with scale they are made just for the camera for small-scale, sculptures combining everyday office materials - staples and glue.  In Proximities come in two limited edition of 7 larger-scale & 1 A/P &15 smaller-scale & 1 A/P  and have so far been selected for the Epsy Photographic Award Exhibition, Elysium Gallery, Swansea by Richard Billingham and Ian Davies. The award brief asked " Is the notion of Urban & Rural now becoming irrelevant or as we continue to explore and inhabit every square mile of the earth mean it is more important than ever to have them separate and are part of the on the top floor collection of the Park Lofts, Albany Street, London. 
Uncertainties Photographic series
‘It is essential to surrender to the idea that human incoherence, which is always twinned with coherence, is what keeps us curious, furious, confused and vitally alive’.  Deborah Levy, writer and author
Celebrating positive states of not knowing Uncertainties staged photographs use beauty products to hint at the sublime. Shot on medium format film and completed between 2003 and 2014 the series is presented on di-bond as digital C types and consists of 20 smaller-scale & 1 A/P (61x51cm) & 5 larger-scale and 1 A/P (A few of the large scale are nearing the end of their editions) 
Above & Beyond Mixed-Media Series ​
These are  small-scale  landscape type works on board that explore the distant landscape both from an aerial perspective and  a horizon line view, Process-led, they are made with plaster and mono-printing ink and involve a careful way of working into the materials and eroding them back over time.  
Intimacy Photographic Series ​
 My first main photographic series was shot on film and  exploring the possibilities of macro and mirco in photography looked at trying to combine both aerial and macro viewpoints  - cells and rivers. Everyday substances such as food dyes were used as they could be both opaque and transparent. They were combined with natural objects such as twigs to make highly saturated, photographic prints that were shown unframed, mounted on di-bond  to heighten the immediacy of viewing them. ​ A4 in scale they for sale as glicee  limited editions prints of 50.  They were shown at Lewisham Art House and on tour with Gallery-net from 1999-2000 in a joint show with painter Annabel Kapp.
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Mountains of the Mind Mixed-Media Series
These are small-scale, textural landscape works  on board made from combining paint with everyday materials such as glues that invite consideration near and far and desire to have awe inspiring experiences. 
Spilt Milk Collaborative Series ​
Taken outside the studio from a moving train the photographs in this series are combined with poems from Social Worker & Poet Elaine Randell.  

This paring was shortlisted for the inaugural Adrian Henri £10,000 for Poetry in Art prize & exhibition selected by Carol Ann Duffy in 2013. 
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In Her Caravan
​She has his photograph it a blurred picture of a tiny baby
propped up by the Tampax box.        
She tells me that she has no regrets 
he had to go 
what with her health and all that.
Signs readily the adoption paper to make him
someone else’s to love and restore back into focus

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