{"id":105,"date":"2016-07-24T14:13:58","date_gmt":"2016-07-24T14:13:58","guid":{"rendered":"http:\/\/haresbreath.com\/?page_id=105"},"modified":"2018-04-24T20:42:35","modified_gmt":"2018-04-24T18:42:35","slug":"sub-editorial-silver","status":"publish","type":"page","link":"https:\/\/haresbreath.com\/index.php\/photo-interventions\/sub-editorial-silver\/","title":{"rendered":"rectified: silver"},"content":{"rendered":"

These objects are from a collection of press photographs from the mid 20th century, hand marked by cropping instructions from a newspaper sub-editor which, in effect, indicate what the sub-editor thought was the most interesting or useful section of the photograph. I’ve used these sub-editorial marks to delineate a field for my own intervention, in this case an application of pure silver leaf.\u00a0Although the original subject matter has been\u00a0eliminated, the surplus material outside of the frame is still visible; arguably it is\u00a0now\u00a0the most information rich zone of the image. But\u00a0the silver leaf isn’t a static field. Like the original silver based photographic emulsion the leaf is light sensitive, and over a period of time will darken and be transformed. It embodies change. So the image now contains a number of temporal registers; the material transformation of the silver leaf, the decay of the original photograph, the evocation of an\u00a0historical\u00a0period through a kind of evidence,\u00a0and\u00a0a notion of recollection (ie. collecting again) which testifies to\u00a0the frailty of memory and the impossibility of holding on to the past.<\/p>\n\n\n\n \t\t\n\t\t\t\t