After assignment four was submitted my tutor has suggested some artists to research and consider. Rafeal Dellaporta’s work, particularly the Antipersonnel series was suggested as another approach to my own in the presentation of artefacts. Dellaporta, in his work of deadly devices, describes these still-lifes in a beautiful chiaroscuro light against a black background. The background elicits the notion of preciousness, as if they were jewelled treasures from an auctioneer’s catalogue, the accompanying text though firmly places these objects as if from a manufacturers’ catalogue:
“Antipersonnel Bounding Fragmentation Mine
V- 6 9 Italy
The V-69 antipersonnel bounding fragmentation mine can be set off by footfall pressure or through a tripwire. When detonated the fuse sets off propellant gases that fire the mine’s inner body 45cm above the ground. This explodes sending out more than 1,000 pieces of chopped steel. Between 1982 and 1985, its manufacturer Valsella sold around 9 million V-69s to Iraq. The mine was given a nickname by Iraqi minelayers: the “Broom.”
- 120 mm wght. 3,2 kg”
The disembodiment of the treacherous device from any sense of context, its complex beauty transliterating from purpose to object d’art is the beguiling device Dellaporta uses to conceal the artifice. The indexical properties of a photograph, which might catalogue both the device and the mis-en-scene of its designated purpose come together off the page. Nowhere in an armaments catalogue would the collateral damage be available for viewing. These objects aren’t typologies in the Becher tradition, though they are imaged in a very similar construction, distant from their purpose yet imbued with menace by the accompanying textual referencing.
The artefacts in my work were conceived to the distant, their emotional presence distanced by, what I have hoped is a forensic aesthetic methodology. The visual rendering of the images is as wide as I could make it; I wanted as little information as possible missing from the frame, from the artifact, the whiteness suggesting a clinical presence. Perhaps that’s the key differentiator – black versus white, or vice versa – Dellaporta’s work draws one in whereas my imagery holds the viewer from the frame.
Also mentioned was Celine Marchbank’s work ‘Tulips’. This work is a very tender rendition of the artist’s mother decline through cancer to death. I suspect it was mentioned to me because of the imagery within the images, clearly very personal and it reminded me of fellow student’s Penny Watson’s work about her Nanny as well as Colin Gray’s work ‘In Sickness and in Health about his mother’s decline, I wrote about it here. I hope to meet Colin in Glasgow when I attend the FTN event on the 20th November as he is part of that collective.
Also suggested was Laura Larson’s work ‘Hidden Mother’ which I think has a lot more going on, archive clearly with its concomitant historical perspectives, but also about representation and motherhood. I’m not sure what relevance this has for my work, but I am intrigued and will come back to it when I have more time.