Sheree Murphy

UnLayering............ At Celf O Gwmpas, Llandrindod Wells till 3rd July 2012 My residency began with an explosion of mark making and allowing my imagination to explore the various art materials and absorb the undeniable Victorian presence that Llandrindod Wells holds. Listening to the sounds, its vibrations and witnessing its sights. Victorian times, sleeping, continuing Seed, happy, remembering. Letting go, change, holding, beginning, process transient. When I entered the hallway of the apartment, it instantly reminded me of my childhood the static smell and the patterned worn carpet echoed memories of my infant school days at Stella Maris Nursery School run by Catholic nuns. I photographed the apartment unveiling its marks, upholsteries its identity. It?s containment of memories and longevity of the stained glass that has held a window open to changing faces of its town. The techniques I have used to assist my making; Ritual/ tradition; a mixture of movement to music and reflection to primitive drawing being cave paintings and its objectivity that allowed humans to record the world around them. The camera obscura Latin; camera for "vaulted chamber/room", obscura for "dark", together "darkened chamber/room". An invention that led to photography it projected an image onto a wall using a pinhole to then reflect on to and light up the wall with a projected image. Painters such as Vermeer used these techniques to trace over and then paint upon. Digital Photography; the process allowed for instantaneous results and the opportunity for its reproduction via the painted image. Context My residency here has provided a platform to produce a work in progress, that began with my continuing professional development into the field of Arts and Health. To express creativity and wellbeing through the process of mark making and playing. Typography and the handwritten form of communication is a subject that forms a lot of my materials. The visual discourse of a photograph very often conveys messages that are insufficient to put into words. These both worlds of communication are the mediums that I web together. Like Walker Evans in the Great depression in America in the 1930's was a photographer that collaborated with a journalist and in doing so introduced the applied use of the camera into documentary photography. Democratizing the news and events of the world in a written and visual form. My photographic technique specializes in the vintage craft of analogue photography. A sense of history is embedded with analogue photography using the same technologies as Walker Evans, Eugene Atget and Dorothea lange are all influential figures to the history of photography and influential to my practice as an artist. I use this method because of the unpredictable nature and authenticity of the image. The digital age has repositioned analogue photography and communication, with reference to the written letter and typed email both conveying a message but one takes longer to create like the analogue photograph. Scott Makela once said that he would not sell anymore of his typefaces because he wanted to ?protect his DNA?. This illustrates the intimacy and unique quality of the human touch by drawing light, form and shape in this case with light. My recent project 'Nurtured in Concrete Form' is a web of tangled history relating to my ancestors, conveying and echoing the role of family and its influences upon each individual. Unmasking religion, secrets, culture, divorce, death, marriage and birth. Each photograph is a documentation of letting go and an allegory of the impending death to all living beings, with attachment still remaining in memory, taking form as the home. Each scene is captured in a selection of family homes and both my maternal and paternal grandparents, directed by the presence of the living and the stories told of past lives and lyrically by an unseen narrative being the presence of ghost.

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