MA Fine Art
My practice is concerned with the attempt to communicate something elusive and unattainable; the unidentifiable something that is forever overlooked; an atmosphere that struggles for verbal articulation. I am interested in documenting this through a desire to suspend the passing of time, particularly in relation to our own mortality: In other words, the space between life and death that might be deemed the ultimate liminal space.
Through the medium of both constructed and landscape photography, I have become increasingly focused on trying to locate and suspend that intangible sense of ambiguity. Similar to previous work, these latest projects –‘Moratorium’ and ‘blood and salt’ – hint at ethical, cultural and political issues, but both are fundamentally concerned with a psychological state of being.
Referencing Roland Barthes’ writing in Camera Lucida where “every photograph becomes a memorial”, my aim is to solicit an emotional response in the viewer. Wanting to prod at the misremembered events of a past while, at the same time, stirring up a sense of desire and longing for the future; the unknown and infinite space between us and the distant horizon that Rebecca Solnit describes in her writing as the “longing for the distances you never arrive in.”
Barthes. R. 1980. (Ed. 2000.) Camera Lucida. London. Vintage.
Solnit. R. 2005. A Field Guide to Getting Lost. USA. Viking Penguin.
– blood and salt I
– blood and salt II
– blood and salt III
Visit Sarah’s website: www.sarahsmithphotographer.com
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