PAGE FROM MY JOURNAL WHERE I WAS RECORDING VISITOR NUMBERS

A couple of Saturdays past, I spent the day in the belly of the overbearing mother.  Perhaps that is too abstract, rather I spent the day in the belly of a shipping container. Perhaps still too vague, I feel I should step backwards and address this from a place that bears a greater background!

I was lucky enough to meet one of the co-founders and curators of LIDO, a gallery space in St Leonards adjoining a set of artist studios.  From what might appear a modest establishment from the outside, LIDO has an impressively ambitious program of exhibitions, events and commissioned art works which puts pay to the ‘I’d never get the funding’ attitude of the rest of us.

The man in question was Dan Howard-Birt, a painter and curator who – as coincidence would have it, was born in the fair town of Aylesbury where I myself hail from (but we won’t dwell on that as I haven’t yet had a chance to bemoan the delights of the town with Dan himself).  The story of our meeting is also irrelevant, apart from to say I was surprised but delighted when I received a call from him asking if I would be able to invigilate part of a show he was involved in as part of Hastings annual Coastal Currents festival.

The project in question very much appealed to my sensibilities and so, without much further of a do, I found myself one Saturday morning in a rather blustery September, walking along the seafront of St Leonards to LIDO and was soon confronted by the structure that would be my home for the day.

The structure in question was the first outdoor sculptural commission by LIDO, created by artist Dylan Shipton and entitled ‘The Overbearing Mother’.  LIDO itself is so named because it fronts onto the site of the now grassed over outdoor swimming pool that once proudly boasted its way onto the seafront site.  At its conception the original Lido was massive – on a scale only matched by Blackpool’s and sadly, this grandeur was also it’s demise as the eyes of Hastings & St Leonards council were sadly much bigger than the belly of the public prepared to visited.

So now what was once an epic mass of water and bathers is now a large grassed area used mainly by dog walkers and Sunday Strollers.  Without the honor of a gallery space now named after it – it would to many, pass completely unnoticed.  What remains of the structure are two large concrete platforms, which rise up unannounced from their now inconspicuous surroundings. It is on one of these platforms that The Overbearing Mother sat through the lion share of September.

The sculpture consists of a beached shipping container that is encased in a Day-Glo protuberance on each side.  On the west face this forms a sort of veranda that appears as if it has something to announce or present.  To the East, a large advertising hoarding reaches up above the container shouting its message to the onlookers of Hastings and the sea beyond.  Shipton commissioned Ben Fitton to create the sign for the location, which in barely legible font reads: “The gap that has been left by the departure of / will soon enough make itself felt”.  Interestingly and I think intentionally, the banner was loosely fitted and so when a particularly aggressive gust of coastal breeze came along, the words came free of their tetherings and flew out to sea, perhaps to be one day to take on new meaning as they are found by a confused fisherman.

The sculpture is perhaps a comment on the changing use of space and surroundings.  The whole structure emerging from one of the few remaining aspects of the Lido to still exist and the advertising hoarding itself paying testament to considerations on how, as our landscape changes, and perhaps when things that were once important are removed or replaced, we only then become fully aware of their impact, resonance and relevance in our environment.

And so Shiptons Overbearing Mother takes on these metaphors – with its bright nu-rave coloured and complex shapes being spun out of a shipping container as if it had always been there but stood unnoticed.  How apt also that the sign that ties the piece together with its surroundings was eventually lost to the winds.

This work is very much a continuation of his previous incarnations – where his sculptural pieces seem to be a comment on the properties and limitations of space by constructing architectural shapes

THE OVERBEARING MOTHER 4 (2011)

and frames.  Whilst sometimes standalone, they often appear site specific and take inspiration and message from their surroundings.  Especially interesting are his tape works whereby large bodies of form, colour and shape are made entirely from an assortment of different tapes (see them online here).  Looking at previous works in context, it is almost as if Shipton is exploring and investigating the possibilities of a potential futuristic landscape with strange developments and structures emerging from their surroundings – both challenging and accepting the expected norms at the same time.

But, I know what is going on behind those slightly glazed eyes – your mind is questioning how I ended up spending a day inside the mother.  Very well (you are saying), we are interested in hearing about this sculpture (you continue), but your title drew us in and now you are leaving us dangling with curiosity (you finish).

Well, The Overbearing Mother had a double life and four weekends in a row, played host to a micro cinema, which nestled in its belly.  This part of the instillation was organised by Christine Gist at Interface and was a brilliant complement to the sculpture itself and the concept a stroke of genius.  The idea being that on each of the 8 days it was open, a different artist would be asked to curate a selection of films to be shown.

Stepping through the heavy blue doors of the container, the un-expecting visitor was confronted by a black curtain, which, upon opening revealed the secrets behind.  A large screen at the far end onto which a projector beamed at full capacity.  A set of wooden benches around the perimeter for film perusal and the usual ample selection of information and intrigue.

Over the different weekends, artists choose a huge array of different films – some showing just one long feature, others opting for numerous shorts.  The day I was asked to be ringmaster to this celluloid cinema, it was the turn of painter and co-founder of Lido, Jacqui Hallum to be the selector.  Jacqui selected three different films to show on rotation, all quite different from one another – but all equally brilliant.

THE OVERBEARING MOTHER 2 (2011)

As a quick and interesting (to me anyway) sideline – on quizzing Jacqui about her film selection, she told me that she had initially come across the films or their directors on Channel Four some years back.  It turned out that this inspiration had emerged off the back of Channel Four’s long time deceased late night short film seasons, which until this point I had completely forgotten about.  This sparked a string of memories for me of staying up to late obsessively watching the short films with my brother and being both amazed at how strange they were and wowed at the skill and variety of the film makers.  For a memory I had until then forgotten, it seemed to resonate as having been an important part of my creative education!

Unlike Jacqui, I wasn’t wise enough to commit the names of the directors I liked to paper and my ailing memory was never going to retain such information – but perhaps with a bit of cunning research, I can be reacquainted with some of my favourites from this period.

THE OVERBEARING MOTHER 3 (2011)

The day in question was a windy and slightly gloomy one, the sort of day where the seafront comes alive and everything feels more dramatic than it perhaps is.  So being in the trailer was no different, as the wind pounded the sides and flapped the curtain into a gentle sway, it sounded like there was a full blown gale outside the confines of the cosy cinema.  Of course, being in a metal crate it sounded far worse than it was, but this added to the experience of feeling somewhere unique in a refuge against the harsh world outside.

This also complemented Jacqui’s choice of films delightfully, as each one was slightly edgy and uncanny in its own right, whilst maintaining enough of a vein of dark humour to keep them from the dangerous precipice of severe paranoid viewing.

First up was Jan Svankmajer’s Food.  A brilliantly inventive film that uses stop motion animation using real actors and some cunning use of plasticine prosthetics.  The film is split into 3 parts – Breakfast, Lunch and Dinner and follows the stories of sets of diners eating their meal and often much of their surroundings (including their co-eaters!). Dark, surreal and amusing (in a Czech sort of a way!) and expertly filmed and put together.  I have seen some of his work before and would highly recommend checking it out. To get you started, here is part 1:

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Next was Andreas Samland with Tag 26 which follows the fortunes of two lone survivors of an undisclosed biological world wrecking super hazard! Without giving too much away, the film touches on raw aspects of humanity and how people would deal with such a situation but again in a rather surreal fashion.  Coming in at 18 minutes long – amazingly the film was put together for around 7000 Euro, which doesn’t show from the clever direction of Samland.

Last but not least on the triple bill was a film called Kitchen Sink by Alison Maclean.  This is a kind of urban nightmare scenario with some loose overtones of Frankenstein influence.  Essentially, a giant ball of hair and gunk from a woman’s kitchen sink gets transformed into a real life man!  Imagine that.  Well, watch the film and you don’t need to.  Funny enough, I thought this film was quite amusing, but a few of the watching visitors said it was the most disturbing to them.  Does that mean I am warped or they are wimps…who can say?  Shot in black and white and filmed with an interesting sense of mystery and suspense, it is no wonder the film went on to win 8 awards at Cannes. Watch the full 14 minute film on Vimeo below…

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All in all – a good day out was had by all and probably especially by me.  The cinema proved popular with those who visited it and was rather snug once inside.  The odd thing was how natural one felt sitting on a makeshift bench, in a shipping container, on a windy Saturday afternoon – watching strange films.  One kind visitor even bequested me with a clutch of apples (later transformed into an Apple & Cider cake as well as a fine crumble) for being the guardian of her bike for the duration of her stay.

If you are in the area, check the LIDO website for their current exhibitions and projects and pay them a visit. www.lidoprojects.com

THE OVERBEARING MOTHER 1 (2011)

CAVE OF FORGOTTEN DREAMS POSTER

THE CAVE OF FORGOTTEN DREAMS

So the other day I went to see Cave of Forgotten Dreams a new documentary by Werner Herzog. I had heard a fair bit about this film, but wasn’t sure about going to see it. But thanks to brother and his birthday – I did.

For those who are not aware of this film – it is basically a documentary (in 3D I will add) about the Chauvet caves of Southern France. Discovered by three explorers in 1996, the caves were found to contain the oldest known and perhaps some of the most spectacular cave paintings we have ever found. Hundreds of animal paintings have been discovered and catalogued in the caves and it is generally considered as one of the most important and significant prehistoric art sites in the world. Essentially, due to part of the cave collapsing many thousands of years ago, this prehistoric gallery was sealed up to the outside world  – helping to preserve it. The caves are now very carefully managed with little access granted to anyone so as to not disturb the delicate balance within the cave system and damage the preservation of the paintings and other items of historical interest.

Werner Herzog was granted exclusive access (all be it limited!) to film inside the caves. I say limited, because the controls of how long and how many of them could enter the caves and where they could go had to be strictly adhered to.

WERNER HERZOG

WERNER WHO?

For those who are not aware of Herzog – he is a Director, Writer and Producer from Munich in Germany. Perhaps best known for his documentaries – including the recent success of Grizzly Man (2005). He has also directed numerous features perhaps most notably Cobra Verde and his version of Nosferatu. His biography is rather wide and varied (including numerous Opera’s) and riddled with critical acclaim. His films are renowned for featuring long and lingering landscape shots and using brooding Cello & violin musical scores.

I am not quite sure how to tackle this post – so think I might conduct the battle on two fronts! First – thoughts on the caves and paintings themselves. Second – a review of the film in it’s own right. Perhaps, you would think the two should be tackled together…but I disagree and my reasons will (may!) become clear! But in principal, the film and the subject matter it covers are quite different beasts and I feel are strangely detached from each other in a way!

CAVES ARE ALWAYS GREAT

First up then, the caves but to put a more precise point on it – the paintings. Caves are great, we all know that – so lets not even bother to go there. This is a big cave, lots of stalagmites and stalactites, many other cave type things. All good – I shall always enjoy looking at a cave, as should all others.

CHAUVET PAINTING 1

The paintings then – my word the paintings. I would challenge anyone to see this film (or just some pictures for that matter) and fail to be blown away, humbled and inspired by them. Not only are they over 30,000 years old – but they are amazing and beautiful in every way. I think we are all too often bombarded with stories of amazing archaeological or cultural discoveries, that, to the untrained eye (i.e not a scientist or archaeologist or historian etc) seem a trifle disappointing. You know what I mean, you hear about an incredible new ruin being found somewhere and when you look into it – there are just a few light scuff marks in the mud that are apparently walls to a spectacular kingdom! We all pretend to find it amazing, but as most of us don’t know what we are looking at…it is very hard to get too enthused! In fact, I suspect that last statement was exactly how Tony Robinson managed to get someone to finance the making of Time Team!!!

PREHISTORIC ARTISTIC SKILLS

But, these paintings really are mind blowing. They show a distinct level of sophistication and a practised hand. You really get the impression that these are not the daubings of a hairy and primitive monkey-man, but the creations of an experienced and considered society. The study of shape and form is lovely – of course not all the proportions and perspective is accurate in our perhaps limited definitions – but, all this time on, we can easily recognise what animals the paintings are off. They show amazing mark making skills and the ability to express shape in a single long line. Some even appear to have shading and the curves of the cave walls are used to accentuate and enhance the forms.

CHAUVET PAINTING 2

What inspired me was the fact I sat there watching images of these paintings and thoughts came to me like “that is so much better than I could do” or “if a contemporary artist presented images like that in a gallery, I reckon they would be very well received”. I then caught myself with these thoughts and was overcome by my immediate assumption that because they were done so long ago – I should be able to do better! Or because they were so old, they would not be able to stand up in today’s artistic environment. This thought process highlighted to me why the paintings are so interesting.

First, ancient art like this really does help us understand the significance that creation has in our evolutionary journey. At what point did we take a tool and use it to express ourselves in a creative way? What motivation was there to make a mark on a wall or carve a representative shape out of a piece of bone? Was the motivation ceremony, spiritual belief or simply for entertainment? Why has no other animal yet reached this point of expression (barring when they shove a paint brush in a monkeys hand of course).  Mind you –  I say that and immediately realise I am wrong! The male Bowerbird for example definitely decorates its nest and shows amazing knowledge of colour! the female then judges the nests on their artistic merit and mates with the one they enjoy the most! Amazing.

BOWERBIRD NEST

However, perhaps the Bowerbird is misleading – or perhaps we just can’t ever know, because what level of awareness is it doing this with? Also, it is not recreating something it has seen where as a cave painting is a representation of something seen by the eye. That ability, desire and analytical thought process that makes us see something and re-create it in a form of artistic expression is quite unique and quite thrilling. The point at which this begun as a species is intriguing, but perhaps we will never really know how and when it first began to happen.

THE IMPORTANCE OF CREATIVITY

Moving on, I loved the fact I couldn’t help but be amazed that a society so long ago managed to paint something so well! To me, this says a lot about my inherent assumptions of the past and of art in general. There is no good reason to assume that since we first started being able to think more laterally and manipulate our surroundings that there would not have been those who were more ‘gifted’ than others and show a natural talent for something like painting. Of course, we are currently blessed with tens of thousands of years of previous artistic practice to inform and influence us – yet I love the fact we can still be in awe of something created to long ago. The power of art and creativity literally can transcend time.

In the current climate of cuts and the Arts Council recently having to take the knife to itself and numerous other art organisations, I think that seeing things like these cave paintings is the best possible argument there is for the value of art and creativity. Artistic expression really is one of the first things that truly distinguished humans from the rest of the animal world.  Perhaps initially in the way we dressed and adorned our bodies and later in other forms of artistic endeavour. It is something so essential, important and ingrained in us – that to give it as little value and time as it often gets is simply laughable. I am particularly thinking education here. I can’t tell you the number of times I have received slightly derogatory comments about my degree only being in Photography. Likewise, at school – much less time and importance is given to art than other subjects and those who teach it are often perceived to have an easy deal. I ask you though – how many mathematical formulae or economic theories have been found scrawled into cave walls? It all started with art my friends and it will all end with it too!

STOP BANGING ON ABOUT CAVE PAINTINGS…TELL US IF THE FILM IS ANY GOOD?

CHAUVET PAINTING 3

Alright, turning my attention to the film itself – what was Cave of Forgotten Dreams like? Lets get it out there to start with, I found it rather disappointing and perhaps bordering on the weak.

That is possibly a little on the harsh side, but I shall try to explain.

I really didn’t come away from seeing the film with much idea of what Herzog was trying to get over to me. Also I didn’t really learn anything that I did not already know prior to going into the film. I was aware the cave paintings existed, I knew a little about prehistoric art and such like – coming out of the film, I basically knew the same BUT I had been able to see the paintings in some rather glorious detail.

For me, that is all the film really achieved – it allowed me to see the paintings in a manner in which I will never get the opportunity to in real life. The paintings moved and inspired me and at times, made my hairs stand to attention – BUT and this is the important distinction, that was the paintings at work and not the film. Granted Herzog had a difficult set of circumstances to film in and he managed to get some good documentary shots of the caves, however. as a piece of film making, I really was not that blown away by the photography.

CHAUVET PAINTING 4

The parts of the film that were outside the caves or not directly showing the paintings seemed to lack much cohesion or direction. I was never quite sure what he was trying to investigate or establish through the film. Some of the people interviewed were quite interesting, but again, it didn’t seem to be very coherent and just as someone was touching on something interesting (either scientifically, anthropologically or about the archaeological process itself) the film changed to something else and left you dangling with scant information and reward.

The narration was at times quite pleasant. Herzog has a very unique and distinct delivery that suits documentary and his style very well. I enjoyed his telling the story of them making the film, but really did not enjoy the almost spiritual bent it took on at times or the grand sweeping assumptions of what people in the caves did and why. Perhaps the worst of these moments was when he asked everyone in the caves to be quiet to see if they could hear their heartbeats – proceeded by an intimation as to whether the caves themselves had a heartbeat, upon which a sound effect to that nature was played. Really – do we need that? Does it do anything for the film or us as viewers? The epilogue that ended the film also seemed a bit of a stretch and seemed a frustrating conclusion for me, although did boast some of the nicest photography of the film!

A RANT ABOUT THE NATURE OF 3D FILMS

The documentary was also filmed in 3D. Herzog himself stated that he has never shot in 3D before because his films did not require it, but Cave of Forgotten Dreams seemed ideally suited to the medium. But Brother put it better perhaps, when stating “If anything is going to work in 3D its gotta be caves” This is true, 3D did work in the caves – as the post film debrief by friends illuminated – the 3D allowed us to see the undulations and form of the cave walls themselves and see how the paintings were crafted onto this difficult canvas. Given we will never witness the paintings in real life, 3D certainly seems the most viable alternative.

However, I am still not convinced by 3D – I am yet to see anything that has blown me away or really justified it’s place in cinema. I completely accept that in Cave of Forgotten Dreams it is brilliantly used to show the paintings themselves, but, for the rest of the film it is just frustrating and pointless. Why is no director brave enough to make a film that jumps in and out of 3D? A small icon in the corner of the screen for a few seconds to signify glasses on or off? Especially in something like documentary, it would hardly affect the flow or narrative of the film at all. I think this was an opportunity missed as I do not need to see people being interviewed in 3D – it adds nothing. I can constantly see the frame of the glasses in my peripheral vision and I find myself too aware that things should be 3D so I am fixated on establishing exactly how 3D they are!

Perhaps the biggest gripe I have against 3D, is the quality of image. To me, film needs to be sharp and defined. I want to see the details and get a real feel for a place through an accurately captured bit of footage. 3D tends to soften edges, blur a bit and especially during movement or wide shots – give a bit of a ghost image. That, I am afraid, makes me feel the technology is not good enough yet to use in these situations. I would love to love 3D, but nothing to date has made me get there! I can’t help feeling that many films are being made into 3D just to get an extra £3 out of the audience because it is the current gimmick. Perhaps the most notable case in point is the film ‘Legend of the Guardians: The Owls of Ga’Hoole’. I admit I haven’t seen it, but I have seen the trailer! I suspect the initial meeting went a bit like this:

PRODUCER: So, we want to make a 3D animation about owls

FINANCER: OK, sounds feasible I guess. There are loads of 3D animal animations though.

PRODUCER: True, but people like them. Kids are mugs for anything animal and IT’S 3D!

FINANCER: Its a competitive world none the less – what will make the film really stand out?

PRODUCER: Well, this is the genius bit – in one scene, owls will fly through rain.

FINANCER: You mean 3D owls flying through 3D falling rain?

PRODUCER: Exactly. Probably do some chasing and diving – perhaps fire too?

FINANCER: Amazing. 3D flying owls and rain. Really, that is genius. How much do you want?

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Sorry. I have gone a bit off track.

IN SUMMARY – GOOD OR NOT SO GOOD?

On that bombshell, it is time to conclude I think.

Basically, I did really enjoy this film but that is because it is hard not to. It is about some amazing and very ancient paintings. Done by our ancestors so long ago that it literally hurts my mind to comprehend. The question is, would I have enjoyed it more if it was just a half hour 3D film of the caves? Yes, I probably would have!

For me, I felt Herzog got this chance but didn’t really know what to do with it. He went off in numerous directions, but was never sure if he should – meaning the film feels a bit directionless and that it would have been more interesting if it concentrated on one aspect of the paintings. Sometimes obvious details that should have been covered were not even touched upon – for example, what the paint was actually made from.

I felt it went on too long and too many shots were repeated needlessly. As for the music – well, it did get rather annoying. I know he is known for his long Cello scores, but it really did start to grate after a while!

CHAUVET PAINTING 5

All that aside, I must also stress the positives! The 3D views of the paintings were great and it is easy to forget that Herzog actually achieved getting access to the caves and filming there. He brought the paintings to the wider world and for that we should be grateful. His narrative is quite pleasant and soothing but essentially, I did leave with a real dichotomy of feelings. On the one hand, I was mesmorised by the paintings and the caves and really left in awe of the achievements and skill of our ancestors. On the other, I was left a bit cold and unsatisfied with the film itself and not quite sure what it was trying to tell me.

I am sure many will disagree as most reviews seem very positive. But, I do wonder if that is more for the paintings than the film itself! For those who disagree with this view, I look forward to being enlightened!

P.S – go and see the film, it is still worth a watch!

I have been aware of the growing obsession with lo-fi camera’s like the Lomo or Holga for a while, but only really a background awareness.  Whilst I liked the aesthetic of these cameras, I never investigated them too deeply, probably from a fear of getting obsessed myself.  Plus, I own far too many camera’s as it is, so buying more always seems daft.  But – a rebellion against the high tech world of digital photography cannot fail to excite when I have a constant craving to shoot on film whenever the digital click of my Nikon sounds.

However, when my good friend Andrew “Goz” Gosling presented me with a Lomo Mini Diana for my 30th in December – I was bowled over.  Finally a chance to play with this cult bit of kit for myself and see what all the fuss was about.  I have taken about 5 films so far and had 3 processed.  It took me the first two films just to get to grips with shooting in such a basic way and ‘from the hip’  But by the 3rd film I was hooked and my Diana now travels most places I go.  Alongside my digital SLR, I feel ready to document whatever the world throws at me.

So, having gone through the images to date I have cobbled together a few series of shots and would very much like to share them with you.

LOMOFILE – THE WEATHER SERIES PART 1

NOTE – click on an image to load up in a full size viewer.

TECH INFO – All images shot on Lomo Mini Diana, Fuji Fujichrome Provia 100F (Colour  Reversal Film – Cross Processed).

For more information on Lomography check the official website (but be warned – there are lots of images and you might be there hours!)

So here we are, post election excitement – I have been at rest since the madness of the polls and feeling temporarily uninspired to write anything…which, I can now firmly blame on the Tories!

Anyway, I promised the political talk would come to an end and so it shall – instead, lets move onto experimenting with very small children (something else the Tories are into…sorry!).

I think, perhaps, I should start again.

MY DISCOVERY OF SEVERAL RANDOM FILMS

So…I recently spent about a billion pounds on getting a large quantity of film processed.  Films that I have taken over the past year or so and have not had the funds to process (tragic huh?).  So in a fit of idle rage and partial madness – I took them all in a few weeks back and got the lot processed and scanned at once.

It was an exciting haul – full of surprises and forgotten gems.  For anyone who doesn’t stock pile films and get them developed in one swoop months and months later…I highly recommend it!  Every image is a nice surprise as you have no recollection as to what was on any of the films.  I had the delights of several medium format films I took in Greece, my first efforts with the Lomo Mini Diana camera and even a couple of random 35mm shot through my Nikon FM.  Marvelous.

Three photos initially confused me when I looked at them, until my memory banks kicked in and I remembered what they were all about!  A few months back…perhaps at the dying end of last summer, Hannah and I met my sister and nephew in Preston Park for a picnic and general jolly.  I was armed with various items for personal entertainment – including of course a host of cameras.

WHAT HAPPENS WHEN YOU GIVE A 1 YEAR OLD TODDLER A 35mm SLR CAMERA TO PLAY WITH?

As I was thinking of new an interesting ways to amuse my then, 1 year old nephew, Noah – it occurred to me that one is never to young to learn photography.  So my lesson began and I greedily forced him into taking his first every photographs.

Noah's First Photos - Attempt 1

ATTEMPT 1

So we were just warming up here and to be fair, young Noah had no idea what the hell was going on.

Still – I think he got quite a good portrait of his ear and how he managed to get the interesting blue to purple fade in the left of the frame is beyond me (edge of his finger perhaps?)…but I like it.

I discussed the merits of depth of field and focus with him – he spluttered a few noises back and we tried again.

Noah's First Photos - Attempt 2

ATTEMPT 2

OK, not bad – a definite improvement.  I like his composition, good awareness of colour, perhaps his focus could have been a bit more centred – but overall, not a bad effort.

Think it kind of says something about a lazy day in the park.

Nice job.  However, I felt a chat about visualising his images before he shot might help and we discussed how you can bring meaning into an image by being more selective about what you shot and really aware of what you put in and out of focus.

Noah's First Photos - Attempt 3

ATTEMPT 3

YEAH!

Check that puppy out.  Now tell me if I am wrong, but that is a genuinely great photo!  Taken from Noah’s point of view, I think it comments on the relationship of mother and son.

The ever watching eye of the mother gazing over the childs shoulder – mirrored by the ever gazing eye of the camera.  Susan Sontag would have a field day with this one.

So, what do you reckon?  For a 1 year old – I think he shows much promise!  Next lesson, I will move him onto Medium Format and see how quickly he can master that medium!

Remember kids – you are never to young to start learning new and complex skills!

Just a quick one to get you in the mood.

Went to London yesterday and had another gander at Nick Knight’s SHOWstudio exhibition @ Somerset House.  A whole host of photos and a review coming soon.

Been there a few weeks ago and they have a casting instillation, where a camera records you answering some questions – then, the most beautiful get called up to a photo shoot.

It happens that I turned 30 last week and so had a number of cardboard masks of my face lying around (again, images and story to follow!).  So, I thought my under 30 face should do a casting rather than my actual over 30 face.

Behold the results below.

To see the video on the SHOWstudio website and see more casting videos, visit http://www.showstudio.com/project/fashionrevolutioncasting/