Spaces of Fiction sets out to purposely explore the many key theoretical problems that are often raised when dealing with notions of abstract photography. Abstract photography is often documented to be an inconceivable visual medium that is constructed from the traces of real world objects. These real world objects are purposely recorded onto photographic surfaces producing the marriage between reality and photography.
Exploring abstraction within photography through the use of light, form, space and time, the images within this work are challenging the traditional notion that the photograph represents reality. The project is built around the interest of the discourse surrounding Metamodernism and the modernist rejection of representational practice and the pursuit of pure abstraction. Spaces of Fiction intends to question the ‘truthfulness’ that the photograph once offered, to create images with no sense of representation and to create an abstract experience.
The photographic compositions of this project are creating suggestions to the concept of transitional spaces that are establishing the aesthetical model for the abstraction within each image. The creative process of the artwork provokes the involvement of performance and actions and produces interventions within the constructed studio environment. This journey of performance is abstracting the relationships between the objects that occupy fictional space and building upon the relationship of history, time, space and form as the fundamental idea of both photography and human existence. The images are a result of experiences of negotiating space and highlighting the hyper-senses of human existence and the perceptions of objects that occupy our spaces.
The compositions are created within the studio environment, where sculptural constructions and meticulously controlled studio lighting are used to build installations that are photographed. Raw sculptural materials like wood and paper are carefully positioned within the studio space and, in turn, create the traces and markings of the reality that are being photographed. This builds up the visual abstracted forms of transitional and fictional spaces. The studio constructions only live within the time-lapse of one recorded photographic frame and are later destroyed. Using light and form to produce real-time abstractions within darkened space is transforming the studio into a void with unlimited depth. This unlimited depth within the image suggests fullness rather than a state of nothingness.
To gaze upon the final images as objects, the viewer is offered the mechanics to help them understand the relationships between the functional empty spaces within the abstracted photograph as a formal result. The photographs, gazed upon as objects of transition, create a physical interaction with the viewer. The photograph, as a minimalist object, encourages the viewer to engage with the dimensions of light, form, space and time as abstracted photography.
This work was selected as part of Futureproof 2015, the annual showcase of graduating new talent from Scotland’s photography courses.
More work can be seen on Mark Osborne’s website