polythene - canvas - driftwood - polystyrene - netting. Northumberland coastline / collected for site-specific interventions, assemblages, projected works.

graham patterson - visual artist  

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Place Attachment (emotional bond between person and place).

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Topophilia (Greek topos "place" and philia, "love of") strong sense of place, often related to cultural identity, referenced by French philosopher Gaston Bachelard in The Poetics of Space (1958).

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Place Memory - According to Pierre Nora, places of memory (lieux de mémoire) refer to those places where “memory crystallizes and secretes itself”; the places where the exhausted capital of collective memory condenses and is expressed.

dunes poetics of space

between reverie & endeavour 1/19

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slow-motion / / / wave reclaiming land. This tidal area of North-Northumberland coastline is owned by Greenwich Hospital Estates London. Apparently the land was given to retiring Admirals as a reward for their endeavours... Their ancestors still profit financially from tenant farmers / rental properties close to the coastline. This tidal area between low and high water mark should be constituted as 'No mans Land'... A democratic space owned by everyone and no one; re-claimed by the sea with each high tide tide...

Studio experiments with portable cordless analogue projectors - projecting shoreline materials - negative & positive film.

Shoreline assemblages 08/17

Works that utilise existing shoreline and materials brought to the space tethered to driftwood with monofilament fishing line.

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The Japanese concept of 'Ma’ can be perceived as a ‘gap’, ‘pause’ or ’space’ between two structural parts... Organising the process of movement from one place to another. A signifier of the ephemeral, where all kinds of phenomena appear, pass and disappear. This ‘positive’ emptiness can be related to the interval that comes when our out breath has finished, but the in breathe has not yet begun… Lately I have aligned this to the experience of watching waves unfolding / reaching the end of their journey before dissipating into the sand…

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I'm currently researching this concept to inform collaborative working practices encompassing light • dark / sound • silence / movement • stillness

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'The Sunday before' – Mario Giacomelli. (1999/2000) I've been admirer of this photograph in particular for some time, deeply poetic, enigmatic - loaded with drama and possibilities. A balance between the urgency of realism and infinite pictorial freedom. My interest in Giacomelli's work was heightened by the knowledge that he created the majority of his photographs in the landscape where he was born, (Senigallia a small town on Italy's Adriatic coast) a place which he seldom left. This image to my mind alludes to the notion of the beach as a blank canvas, in which props have been placed, awaiting a performance. The image was taken on the Sunday before Giacomelli was hospitalized and in which a perception of the end is revealed.

 

'The consistency in the spirit of this great artist can be found even at this point: he closes his photographic journey in the same place where it all began: the beach'.

 

For me the coastal landscape is an omni-present source of inspiration. It was ever thus, growing up close to this coastline induced a deep emotional connection; one I'm reluctant to break. The sense of freedom and accompanying euphoria within this space is often tempered with feelings that I'm indulging in too much escapism  (should be networking, applying for opportunities)

 

2017 comprised of curating two group exhibitions entitled 'Materiality'. The second of which took place outdoors on Holy Island, the genesis of beginning to create installations outdoors was personal and mundane... having to leave my dog behind, he was unable to accompany me anymore, due to illness advancing years. For 10 years we'd walked through the coastal landscape barely pausing, constantly moving – therefore photographing, drawing and mark making were gradually dispensed with; accumulated thoughts and interactions being transcribed in the studio. These tentative interactions within the coastal space are now gradually taking presedence. Documentation of  works outdoors is key, along with questions such as to who encounters the work and how? Is the first hand experience preferable, to the 2nd hand version? This is consuming my research at present as well as feeding into my current project working alongside the North East Photography Network.

dissapating wave - four continuous exposures on one 35mm film frame

unfolding waves 06/18

topophilia 10/17

Projected matter 7/17

Research to inform current collaborative projects includes reading 'In Praise of Shadows' - Junichiro Tanizaki & SQUARE CIRCLE TRIANGLE - Bruno Munari

 

As well as... walking between high and low water on the North-Northumberland coastline, projecting imagery onto rock faces and the sea at night.

 

Developing apparatus in the studio to suspend substrates from  - which maybe utilised in outdoor projection locations.

 

Working with Laser cut-etching material, made at Northern Print during 2018 - such as mirrorred film, suspending kinnetic assemblages of said material.

'the sunday before' - 10/18