“Light Art (or Light Graffiti) for me had its humble beginnings back in 2004 in Greece when by chance, photographing a moonlit landscape went unexpectedly wrong. Unclipping the camera from its tripod, I quickly discovered that by putting the camera into long exposure I could move the camera in my hands and use the moon itself to write out a word. Still buzzing with excitement, the next natural stage was to keep the camera on a tripod, and use torchlight to ‘draw’. Ever since then, I have been on a solitary journey of discovery, pushing the limits of my photographic knowledge, my imagination, and always overstepping the boundaries of what is feasibly possible. I also find enormous reward in creating a piece of work that only exists in that moment; the only evidence of its existence is what is recorded on camera. The environment; my canvas, is all that’s left behind, exactly as it was before my arrival. Filling an environment with 3 dimensional ‘brush strokes’, vibrancy, energy… turning the ordinary into the extra-ordinary… these are some of the things that drive me; fuels my passion.”
Archive for May, 2011
“Photography only lets you capture instants (even long exposures are only blurred instants). So, I hacked the idea of photography, mixing together many photos of the same scene into a single one, slicing and dicing the images and putting them back together, chronologically. I call the grammar behind it ‘chrono cubism.’” – Diego Kuffer
“I’ve always been intrigued by what happens below the surface, like what’s happening where we can’t see.” While watching the slide-show on Mark’s laptop I’m amazed at the detail of this ‘other world’ that’s portrayed with his selection.
An “ongoing reportage of Australia’s relationship with the ocean,” The Underwater Project has gained much acclaim in mainstream media. It’s Tipple’s wish, though, that recognition for the UWP will transfer to his documentary series focusing on social justice issues. “Some of the people that I’ve worked with in Fiji and Indonesia deserve a lot more recognition than a couple of guys splashing about in the ocean. Hopefully there will be a flow on effect from The Underwater Project to the documentary series,” says Tipple.
“Photography is a kingdom of glamour and banality. The photograph, whatever its cultural pedigree, does not so much exalt the everyday as establish the aesthetic parameters, the peaks and troughs, of everydayness. The camera may record astounding events or reveal shocking truths, but always within the context of the ordinary, the literal, the real. As Roland Barthes put it in “Camera Lucida,” his graceful and disarmingly poignant meditation on the nature of the art, the photograph always says the same thing: “That has happened.” Which means that every photograph is equivalent even as each one is distinct, and that they all capture a precise present and register its conversion into an irretrievable past. Photography is the definitively modern, technologically relentless engine for the mass production of nostalgia. Video may be live, instantaneous, perpetually current, but a still photograph takes up instant residence in the archive. It gives you not the gratifications of immediacy, which moving pictures deliver so readily, but rather a teasing and endlessly seductive sense of distance. When you leaf through old albums or tickle the touch screen, you are excavating memory, traveling into the past, whether your destination is the last century or last night.”