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.
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
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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.
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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.
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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
‘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
‘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)
You are opening your eyes for the first seeing, first touching, and you learn where light comes from, where the body ends and space begins. Catherine Jacobs's photographs construct psychological terrains which recall physical sensations and interior emotional landscapes that are immensely intimate and hover between pleasure and squeamishness. Moving deftly back and forth between the analytical and the sensual, the images in Uncertainties often evoke the forensic - lifting the skin of the eyelid to see what the eye sees, or piercing under a membrane to depict hurt. The granular surface of a path leads somewhere that could either be stable ground or sinking sands. A clump of hair or fluff or fur is caught in an eddy, clinging to a place, insecurely, depending on the rage of the flow. Emerging forms flicker at the end of a tunnel of darkness, like dusk or dawn in an unknown territory. Are you safe or uncomfortable? Enclosed or engulfed? Human or animal? Is this a horizon of flesh or feeling? With minimal means and a certainty of approach, Jacobs conjures the eerie misplacement one feels when a beloved's hand withdraws or holds too tight. She uses a range of beauty products and although she initially chose cosmetics for their viscosity, she enjoys subverting their function and making them her own. Like James Casebere, whole builds small architectural models on prisons, psychiatric hospitals and monasteries when he then photographs spookily 'real', Jacobs constructs and photographs small installations which also play with the micro-macro scale. The controlled environment echoes what is known as the strange situation, a method used in attachment theory to assess how attached a child is to its carer. It also attempts to measure the natural from the artificial. If you could photograph the feeling before a tear it would look like this. A welling up. A prickliness. Composure slipping over an edge. A nerve getting irritated, sand in a mussel before the pearl. Jacobs's powerful images resonate with a double-edged and subtle seduction below the eye the heart, the muscle and the sinew, just as pleasure itself brings a fear of pleasure and fear of letting go. If you could X-ray a thought, the soft implosion of two beings becoming one, as surfacing and sinking feeling - it would look like this. Cherry Smyth, Author, Writer Poet, for Florence Trust Residency Catalogue.
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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 the photographs in this series are combined with poems from Social Worker Elaine Randell. In. 2013 this paring was shortlisted for the inaugural Adrian Henri £10,000 for Poetry in Art prize & exhibition selected by Carol Ann Duffy.
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 Elaine Randell |
