artinvestor magazine

Thank you artinvestor for featuring my work this month although, for the record, being born in India does not make me an 'Indian artist'. I am American-raised and English.

mementi

what is the word? when the ordinary becomes sacred. symbols of people and times we miss. shrines. lockets. security blankets. our need to hold on to something when what we really need isn't there. 'a battle cry to treat this absence'. material objects inscribed with the physical and affective traces of memorial transmission

parting

“Genius is no more than childhood recaptured at will, childhood equipped now with man’s physical means to express itself, and with the analytical mind that enables it to bring order into the sum of experience, involuntarily amassed". Baudelaire (The Painter of Modern Life and Other Essays)

michael hoppen gallery

Michael Hoppen Contemporary is delighted to collaborate with Saatchi Online for an exhibition of work by six artists, hand-picked from the Saatchi Gallery website. Entitled ‘Starting with a Photograph’, the key criterion is that the work must begin with a photographic image- found or made. Beyond that, each piece is unique, sharing only an interest in exploring and expanding the limits of photography.

The exhibition will take place at Michael Hoppen Contemporary, situated close to the new Saatchi headquarters on the King's Road in Chelsea, and will begin on the 10th September.

joy

"There is just this for consolation: an hour here or there, when our lives seem, against all odds and expectations, to burst open and give us everything we've ever imagined , though everyone but children (and perhaps even they) knows these hours will inevitably be followed by others, far darker and more difficult."
The Hours by Michael Cunningham.

do not

"pessimism of the intellect, optimism of the will"
(thank you amy for reminding me of this)

dar magazine

a pdf of the greek interview has been added here

process of inquiry

Poetry deconstructs and slathers love all over the formal aspects of language and words, and painting does the same. Why wouldn't you put all the elements into play in photography? Pit the chemistry, the paper, the film and the enlarger into a death match where it's not clear who is going to survive. The outcome doesn't matter as much as the process of inquiry; this isn't abstraction it's exploration. The scientific demands of the photographic process necessitate a lot of rule-following. Best not to become too docile in the mind, though. As Carl Sagan says in the Backbone of the Night episode of Cosmos: (sic) too much conventional thinking isn't doing anyone any favor.' Mariah Robertson, 2009

swan version

alternate -- rougher, damaged -- version of something from before.

"the subject's gaze is always-already inscribed into the perceived object itself, in the guise of its 'blind spot,' that which is 'in the object more than object itself', the point from which the object itself returns the gaze. Sure the picture is in my eye, but I am also in the picture."
From Matt Lau's review of 'The Parallax View' by Slavoj Zizek.

Fe

“A photographer who doesn’t photograph women is no photographer, or only a third-rate one. Meeting a woman anywhere teaches you more about the world than reading Balzac. Whether it be a wife, a woman encountered by happenstance, or a prostitute, she will teach you about the world. In fact I build my life on meeting women and I have hardly read a book since primary school.” Nobuyoshi Araki