Labels: MAYBE THE FUTURE WILL BE BETTER

Labels: I MADE THIS. ME. GRAYDON., MUSIC

Labels: I MADE THIS. ME. GRAYDON., REALLY FUCKING GAY

Labels: BAD DOG

Labels: ART, PHOTOGRAPHY, THINGS I WISH I'D DONE

Labels: DESPERATE AND SAD, FILM, MAYBE THE FUTURE WILL BE BETTER

Labels: ART, I MADE THIS. ME. GRAYDON., PHOTOGRAPHY

Labels: DESPERATE AND SAD, MAYBE THE FUTURE WILL BE BETTER

Labels: I MADE THIS. ME. GRAYDON.

Once, Mikey and Kendell's friends boasted they'd never get in trouble and never sell drugs, but by age 15 half of them have done just that. In this beautifully shot and intimate documentary, Oscar-nominated director Hubert Davis reaches beyond his own story-so eloquently captured in Hardwood-to follow two charismatic Regent Park boys as they make the transition from youth to manhood. Each runs into trouble with police, the courts, and school authorities despite having mothers whose love is palpable and Morgan's heroic attempt at mentoring. With none of the privileges of wealth and all of the prejudices of poverty, with absent fathers, a landscape of half-demolished buildings, vacant lots and systemic racism stacked against them, the boys struggle to turn their lives around.

Labels: FILM

Breakdown features a group of photo-based artists exploring the construction of deconstructions. In relation to the CONTACT theme of Still Revolution, each artist responds directly to the constantly evolving yet historically reminiscent nature of the still image. Robyn Cumming constructs the climax of moments of chaos and trauma; the resulting photographs depicting an abstracted state of flux, serving as both the event and its aftermath. In looking at the images one simultaneously experiences the performative nature of the presented scenarios as well as the very act of constructing and photographing them. Katyuska Doleatto creates monochromatic still lifes with the use of decomposing elements. Rather than mimic the opulence and seduction of traditional still life, she instead creates minimalist compositions that beg scrutiny; each specimen seems to undulate though it is laden with the ineludible colour and shape of death.

Lindsay Page presents a building/un-building machine that exemplifies tedium and redundancy. Through the use of slide projectors, a now archaic technology, her photo-based installation loops viewers into the futility of an act that can never extend or develop beyond it self. Shooting with a stereoscopic lens, Graydon Sheppard creates animated, photo-based GIFS, which exhibit a simultaneous spatial construction and deconstruction. Each piece oscillates between a still image and one that moves forward and back with an unnatural and stunted sense of time. Both the images and their content give the impression of a quality, that when sought out, seems to disappear.

The animations in this series were made by taking photographs with a stereoscopic lens and then alternating the left and right channels from the photograph in rapid succession. This technique creates perspective and gives the illusion of three dimensionality. The content of these images came from the desire to make magical scenes that fit that illusion. Taking cues from mystic, religious, and occult iconography I fabricated these tableaus in urban settings.

It's so easy to forget that we live and experience in three dimensions. 3D technology is making a huge comeback. Filmmakers are going to great lengths to create the illusion of depth that we can experience simply by looking around. In that frame of reference, these images become a strange contradiction. They are simultaneously flat and deep, frozen and frenetic. The kinetic energy is tangible and gives the illusion that the subjects could break free and burst into motion at any second.

In looking at these GIFs we can switch back and forth from remembering that they are two dimensional images projected onto a flat wall while believing the experience of depth. It's like looking at a drawing of a cube which switches in or out depending on what we let our mind's eye perceive. In the same way, we can perceive the rituals to be deep when really there is nothing behind them. The man in the cloak in a Christ-like position appears to be floating in the air, but it is easily understood that in reality he is just jumping. These photographs constantly construct and deconstruct themselves in form and in content; they continually collapse upon themselves.

Stereoscopy is hardly a new practice, but the advent and popularity of these GIFs in digital culture today recontextualizes the technique and revolutionizes the medium by doing away with the necessity of a viewing contraption (such as 3D glasses). As an artist who works in both time-based and plastic mediums, this is my missing link between photography and film. It's my zoetrope, even if it's not real.

Labels: ART, I MADE THIS. ME. GRAYDON., PHOTOGRAPHY