Drawing on the manipulative techniques of photographic time and space, the images string together a narrative that is inherently non-linear and perpetually falling. A tension occurs between the domestic and the other. A meditation on isolation. A certain lyricism is prompted throughout the images – allowing for a relapse in viewing. Moving forward and then pushing back, the works step into two worlds: one of the abstract and one of the mundane. Time acts to shift the course of perception, introducing an intimacy between viewer and image. Between being and becoming. With references to the natural and the still life, the photographs act as memories – both new and old – as they coalesce through time. Focusing on The Double, an illustration of timelessness becomes important – perhaps a fall out of time itself. Research into Victor Turner’s interpretations of the Liminal Rite and Virginia Woolf’s literary use of the multi-narrative develops a tension between the domestic and the other. Gravity and time prove instrumental in displacing the images from their natural timeline. In this way, the photographs act as spectres of memory, falling out of sequence to show an affected present moment, revolving around the Uncanny. ‘It’s Safe Behind the Glass’ is a working title, taken from an enclosure sign at the London Zoo. Forming an illustration of timelessness, perhaps even a fall out of time itself, the photographs concentrate on the notion of perception versus physical reality – locating gaps within the domestic and the natural world. 

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Daniel John Bracken

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