Abstract
This short paper examines my relationship as an artist with the format of my photographic images and the decisions I make about the edges of my prints. It is presented in conjunction with and as additional to images of my photographic work. The format of my work is an integral part of my practice and it is informed by precedents from the history of both painting and photography. As a result, I have been thinking about how and why the photographic edge plays such a huge role in the conception,...
Highlights
Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International
1 This short paper examines my relationship as an artist with the format of my photographic images and the decisions I make about the edges of my prints
3 Broadly speaking, my work explores the physical nature of photographic images and the debt photography owes to historical western European painting. It points to the ‘object-ness’ of an image that originates in a negative that has been exposed in a camera and printed in the darkroom
Summary
Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. 1 This short paper examines my relationship as an artist with the format of my photographic images and the decisions I make about the edges of my prints. This apocryphal narrative is used to explain the circular format of his Madonna della Sedia (Fig. 1).
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