Through an interview in this issue I discuss the ongoing Children of Mars project, photography's transition to the digital age, negatives, acrylic paint, and hiphop from the early days of digital recording. Visit Adore Noir to get a copy.
New prints from the series WE, will be part of an experimental photography exhibition at the Micēlijs Gallery in Riga, 17-25 March, as part of the Process Experimental Film Festival. A panel discussion will be held at the gallery on Sunday, March 18 at 16:00, looking at the position of experimental photography within the context of the contemporary art world.
Once again I will be leading a workshop at the North London Darkroom for those looking to learn film development. The workshop will be limited to 4 participants. Feel free to send me a message if you have any questions.
Follow this link for details, and to book a place. http://www.londondarkroom.com/shop/workshops/film-process-workshop
A piece from my Galactic Coordinates series, a part of the group exhibition “Constellations”, in theLumen exhibition space situated in the historic crypt of St. John on Bethnal Green. The exhibition is a part of the Art Licks weekend festival in East London.
I know, I know. I haven't been keeping this feed as active as I should.
I am still alive, and doing lots of things. Perhaps too much to keep all of my social media channels up to date. If you're interested in following what's going on, I urge you to join me at Instagram. I've just been joined by my 5,500th follower. Come join the fun!
At this point in time, I would have expected a comprehensive examination of the work of this pre-eminent architect, now that she is gone. This exhibition is not it. ⠀
It is strictly of drawings and illustrations from her early period, the 1980’s to about 1993. The show for me fell short. While it was great to see these works, there was little to help contextualize what it was we were looking at. No information about the projects she was designing for, no 3d models, no photographs showing completed projects, little indication of ideas for interiors; Just paintings and drawings, accompanied by minimal labeling. I also found the cut off date for the work exhibited, strange. Surely there is interesting work beyond 1993? But I saw no indication of follow-up exhibition. Something was just not right about this show. Likely the result of her sudden death last year. Regardless, the exhibition felt unfinished and ultimately a missed opportunity. 7/10
I have been an admirer of Anselm Kiefer for quite some time. He was likely the first contemporary painter I began following, way back while I was in high school – decades ago. I noticed a few weeks ago that the Bermondsey location of the Whitecube Gallery, (here in London), has a Kiefer currently on, titled "Walhalla". While a great admirer, I wasn't enthusiastic about the prospect of seeing the show. This would be the 3rd substantial Kiefer exhibition in London over just a couple of years. The last was a massive retrospective at the Royal Academy in 2015, and not long before was a substantial solo exhibition at the Whitecube Bermondsey, not a small space. As both exhibitions were excellent, I wouldn't think it possible to better. I decided that I should take a look, and prepared myself for more of the same; disappointment.
Was I ever wrong...Read More
There are probably more than a few that wonder why the word "Diorama" adorns the facade of this building sitting amongst white stucco, John Nash facades circling Regent's Park. This building is directly connected with the birth of photography, as it was Jacques Louis Mandé Daguerre's Diorama. Daguerre ran the Diorama business (with a London partner), while in the pursuit of the invention of photography. The enormous success of the diorama injected the fervour in his quest of finding a means of producing a perfect likeness of life.
In the years leading up the announcement of the invention of the daguerrotype process in 1839, largely considered the birth of photography, Daguerre was entertaining the masses through his Diorama. Two Daguerre diorama's existed. Imitations were soon to follow. The first was built in Paris in 1822...Read More
Things have been quiet here at the Journal over recent weeks. It's not because there hasn't been anything happening... it's because I succumbed to Instagram. Admittedly, I had been avoiding it. I was already participating in several other social media channels, and Instagram just seemed to me to be a paired down Facebook with gimmicky filter for phone cameras. After having more than a couple of people ask me if I was on Instagram last year, and hearing stories of how good it has been for some artists, I decided to take the plunge. I now realize how wrong I was about it. How very wrong. The gimmicky photo filters are actually not the reason people use it, and it is not anything like Facebook – a completely different experience. A completely different channel.
Unlike this blog, where I have no idea if anyone is actually looking at it, there is almost instantaneous feedback when one posts something to the Instagram feed. Things are getting out there, whereas things may be festering here. Needless to say I've been sold, and have been enjoying it so far. My energies have been focused on it recently, but I will still be adding material here. Again, this place, my blog, is a very different social media channel.
Stay tuned, but also follow me at my Instagram space. https://www.instagram.com/william_mokrynski/
A few views of my work in the group exhibition for the Lumen residency held in Italy back in September. The exhibition was in the incredible Crypt Gallery, beneath St. Pancras Parish Church. One of the most interesting spaces I've exhibited in.
Four 50x60cm prints, along with an installation of a view camera trained on a rotating planet-like sculpture were exhibited alongside 20 other artists exploring themes of the cosmos and light. The work will be available for purchase through this site soon. Let me know if you would like to be notified of when the shop is live, or have enquiries about the work.
A couple of examples of quick experiments contact printing 4x5″ negs shot on the LUMEN residency. Each print is 8x11cm. The moonscapes are real, the planets are my creation. Each section is printed on a sheet of very expired photo paper from a manufacturer who was located in the “DDR”. I enjoy how these prints can be mixed and matched to build new combinations. There are about a dozen others, with more to come as I create more planets. Maquettes for larger prints???
The prints produced throughout the residency were on small 8x10", resin coated paper. These were quick working prints, fine for trial prints but not for final work. For the upcoming exhibition in London, (end of November in the crypt of Euston Church – contact me for details) , I am printing 20x24" prints on matt fiber-based paper. Black on the matt paper is very muted and dead, particularly when the print is selenium toned. The black field will not reflect light, much like the blackness of space. I've also begun printing an edition of a 9.5x12" box set. Let me know if you would be interested in either of these as both sizes will have a very small edition.
Painting out the skies on contact prints printed from negatives shot on my final days of the residency in Atina. From these, I will determine which I will work with for a few new works for the series.
While shooting the planet models during the residency, a DC motor which was placing the object in a planetary orbital spin died (with a puff of smoke). I did manage to photograph a couple with a motorised rotation by rigging up a piece of string wound around the shaft, then pulling the string like a spinning top while the exposure was being made. While this (remarkably) worked, it was less than an ideal way of working. A £17 investment in a new motor needed to be made before more planets could be created.
The 5 final pieces produced at the Lumen residency over the past couple of weeks, along with a few views of the installation and reception below. With my computer left at home, and use of a rather primitive darkroom, I’m quite pleased with the results, particularly considering it was entirely realized within the two week residency. The materials used to produce this were, 4 x 5” negatives – shot throughout the residency (the entirety of a 50 sheet box of Fomapan 100), a scalpel, cutting matt, sellotape, a sheet of glass, 8x10” RC photo paper to contact print onto, and an overhead light in the darkroom I could switch on for 1-3 seconds to make the exposure (no enlarger, or timer).
A local legend from pre-Roman times, states that Atina and four neighbouring hill-top towns were descended from the god of Saturn. The images transport the townscape of Atina to the orbits of the planetary gods.
I have a few more negatives from Atina and am thinking of producing another planet or two. I’m considering producing a (very limited) box set of this series, on fiber paper, slightly larger, likely 8 prints. Any interest?
Installation photos: Ellie Kyungran Heo
This is where the local exhibition for the Lumen residency will be held. The London exhibition will be in the Crypt of the historic Euston church.
A photo of most of the residency group for a Cassino newspaper. With participants from Australia, Argentina, Brasil, Canada, Italy, Ireland, UK, United States, and South Korea.