My current project ‘Analogue Disruptions’ considers the disrupted photographic image. For one-hundred-and-ninety years technological advances have refined photographic processes diverting attention from the physicality of the print. Within this digital age our images now carry the scars of our technology. It is becoming increasingly difficult to look past the once invisible surface of the photograph, to enter the illusionary space of the image. The photographs we view on our mobile devices carry emojis or Snapchat filters that disregard the perspective of the image we view, these images are then layered on top of each other with clocks, icons, menus and dead pixels further drawing our eye to the surface.

Analogue Disruptions is made in collaboration with volunteer queer models from various on-line platforms, such as Instagram and Grindr.  I work with these strangers within a relatively short time frame, taking photos and discussing ideas. The photo shoots take place in either the model or photographer’s home. There is no editing or digital manipulation in the images, so the model can see the final image at the end of the shoot. I think of the shoots as small collaborations, aiming to extend how the queer body is represented.

I like to experiment with various aspects of photographic illusion in my projects. These images have no editing but I use physical props that look like elements of Photoshop or Instagram stories. I aim to confuse the viewer, forcing them to question what they see, a reminder that all photography is in some way constructed. I have begun to add further disruptions while framing the work. I include objects from the photograph as part of the frame, or physically alter the surface of the print. I am playing with ideas of reality, representation and scale.


ANALOGUE DISRUPTIONS

During lockdown, with no access to models, I’ve begun working on a collage based practice, Viral Disruptions, using materials I found around my apartment. I've been adding stickers or cutting the surface of photos taken as lighting tests for previous shoots. These collages contrast flatness with the photographic illusion of depth. I'm considering the photograph as a sculptural object that can be physically disrupted.

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NIGEL GRIMMER