Since 2000, John Armstrong, who lives in Toronto, and Paul Collins, who lives in Paris, have maintained a collaborative, intermedia art practice.
Their photographs, videos and painted images record places, events and objects they come across in the course of their daily lives in Toronto and Paris. These elements are variously juxtaposed to suggest narratives that play with the porous nature of individual and collective memory.
cache-misère is the title of a series of colour photographs on which the artists have painted images, text and swatches of colour. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the initial picture. The painted images represent primarily domestic bric-a-brac and typographical elements that form short poetic statements.
Once painted, the photographs no longer represent seamless windows onto reality, but assume a new logic where any editorial content is complemented by the associative synergy found in abstract painting.
–Installation view of cache-misère in the exhibition The Mechanical Bride curated by Bonnie Rubenstein for the Scotiabank Contact Photography Festival 2010 at the Museum of Canadian Contemporary Art, Toronto.
A near-psychedelic layering of brightly colored drips, drawings and inky fingerprints offer haiku-like meditations about the materiality of the street itself.
In any part of the universe there is a whole universe—Hamlet saw infinite space in a nutshell; William Blake saw a world in a grain of sand, a heaven in a wild flower, eternity in an hour. These photos shimmer with beauty.
But what do photographers look like in front of the camera? This curated project asks a pair of photographers to photograph each other. The results are wildly diverse and simply inspiring, speaking to the endless possibility available in the photographic medium.