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Once painted, the photographs no longer represent seamless windows onto reality, but assume a new logic where any editorial content is complemented by the associative synergy found in abstract painting.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.
When you delete images from your digital camera the files are lost forever, not so with film — the mistakes, wrong decisions or bad memories continue to exist somewhere — maybe even gaining a second life in a stranger's collection of discarded photos found by chance or other ways.
Self-taught photographerplays — delightfully — with film photography and the very idea of photography. Taking full advantage of showing what the camera sees (sometimes over long periods of exposure) compared to what the human eye cannot or does not see, she creates rich, quirky, complex images without the aid of digital manipulation. What you see was really there (over time).
A series of fantastical architectural and environmental curiosities found across the former USSR—photos which speak to these areas' unsteady mixture between authoritarian power, deep-set poverty and bursts of monumental extravagance.
constructs scuptures from the human debris he finds along the waterways of Houston, and then he photographs them, creating a series of artful commentaries on what humans leave in the natural landscape.