New Member

The Object of Photography, the notion of residuality extends beyond photography's intrinsic materiality. Recognizing an ascendancy of the image over the material of photography, Fereday treats the photographic surface - the most pervasive signifying surface of the 20th century - as cultural residue. The Object of Photography comprises several material elements. Firstly, the installation engages the physical and cultural space of the gallery: its lights, its walls, and its space form active, functional components of the material work. Objects and photographs are introduced into space. Various black and white photographic prints show images of mirrors, shadows and reflections, light sources and illuminated surfaces, and fragments of unidentified objects. A common feature is the spherical or elliptical aspect of the imaged 'object' or its equivalent. Assorted serving vessels - bowls and plates, round or oval in shape with either translucent or reflective surfaces - are suspended mid-air in the gallery space. The objects, all 'designer readymades', include round shaving mirrors affixed to walls. Spotlighting variously illuminates, shades, or reflects upon the objects, the photographs, and the gallery space.