From 2004 - 2009, my work drew strongly on the intertwined histories of video and performance art, articulating phenomenological reflections on the actions of posing and viewing implied by the technology of the camera. By considering the genre of portraiture as a performance, this work considered the impact of changing media technologies on performances of the Self, connecting to photography’s tenuous anthropological history regarding questions of the ‘real’, the ‘performed’ and the ‘documentary.’ Within this exploration, the use of digital video has been key in expressing a “televisual self-consciousness” of performance indicative of the age of accessible home video, technological surveillance, and “live” or “reality” TV.
In performance and visual projects I explored the creation temporal portraits realized through fading, evaporating and disintegrating imagery. Interactive works such as the Time Portraits and Light Portrait bring the performance of the image into the present by engaging the embodied viewer in the performative space of the gallery, inciting an interplay between performance, and still, moving and fading imagery. YouViewer investigated roles of performance, spectatorship and documentation ensuing from the spectacle of the mass mediation of documents of surveillance; highlighting also the viewer's complicity in the remediation of this violent imagery as entertainment.
Since 2009, my research has involved processes of translation and comparison between "traditional" and "new" reproductive imaging technologies. This work, has taken the form of drawings, digital print, video, glass and installation work, often combining various media, or placing it in dialog in the installation space, in order to explore relationships between "old" and "new" reproductive technologies. The temporal implications of each media's inherent relationship to performance, documentation, time and memory emerges as a strong point of focus. In the ongoing series of video and digital print works, Remembering, still and moving imagery, representing cast glass reproductions of domestic photo frames, connects the digitally reproduced image to its older relative the photograph, and to the yet older/ancient reproductive process of casting. Parallels are drawn, invoking metaphoric relationships between photographic, computer and human memory.
At play, in this ekphrastic process, is an attempt to experience an additional dimension of meaning or understanding of the content, the data stored as memory, in the image, through its transposition or translation from one media into another. What the interpretive nature of ekphrasis most strongly reveals, thus far, however, is the intangibility, ephemerality and multiplicity of meaning the reproductive image bespeaks. This failure to document, ironically draws the image into a closer and more bittersweet relationship with the object of it's task - memory.
- Emma Hogarth , 2012
Above: Remembering, 2011, cast glass, video, installation view