Country: Scotland, England
Field(s): Photography, Printmaking
About her experience in Belgrade:
In Belgrade I photographed and researched architecture and the use of concrete and planning. This is especially important in the Balkan states because of their proximity to the former eastern block, transitory history and paradoxical cultural narratives. Belgrade provided an excellent base to explore further afield, and amazing facilities including an inspirational zombie shopping centre with a great affordable analogue photo lab inside. I met lots of local artists and we did some work with pinhole photographs which I now plan to extend. The accommodation I stayed in was really lovely and private. Gordana was really helpful and inspirational in setting up links and having ideas.
About Emma’s artistic practice:
My practice centers around materials. It has moved from using kiln formed glass in my BA degree, through to photography and now printmaking. My work questions how a two- dimensional image might exist in today’s digital landscape. It seems that matter is now seen on a molecular level beyond our everyday vision.
My images trace the technical progression of print from half tone images to hyperreal digital work. My prints are often absurd using food items such as pineapples and meat because of their textural qualities and fleshy, transitory states. The images set up a dialogue between technology and our bodies through use of visceral, glossy and organic surfaces. Objects invade the composition and the prints show a place in a slice of time. My method of searching image archives and using found imagery and documents, is important in creating these narratives where reality is in question.
I’ve expressed this tension between history and contemporary visions, 2d and 3d, by using different print techniques together, such as etching to create depth and weight with glossy digital prints on the surface, screen printing onto photographs, duo tone prints and collage. I want to take this difference further by printing onto transparency film and large scale concrete casts to create a more ambiguous depth than paper will allow.