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Salt photographs of salt sculptures (201 6).2 sculpture; forming a direct link between object and representation. These images were produced at a Salt Photography workshop held by Paul Deskarolis anc

Figure 7 Salt photographs of salt sculptures (201 6).2 sculpture; forming a direct link between object and representation. These images were produced at a Salt Photography workshop held by Paul Deskarolis anc

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colour and returning to the sea on dissolution.
colour and returning to the sea on dissolution.
Salt | Water (after Serra) - (2012 to present). of metals, was a clear point of reference (Serra et al., 2007).
Salt | Water (after Serra) - (2012 to present). of metals, was a clear point of reference (Serra et al., 2007).
Macro photography of salt sculptures (2014).
Macro photography of salt sculptures (2014).
photography, as we know it today, possible.
photography, as we know it today, possible.
the objects contained within.
the objects contained within.
The Bust of Patroclus, Henry Fox Talbot, salt print (1844).
The Bust of Patroclus, Henry Fox Talbot, salt print (1844).
Installation view of Photography Into Sculpture, MOMA, New York, 1970
Installation view of Photography Into Sculpture, MOMA, New York, 1970
zwischen, durch, Gottfried Jager (1985). three-dimensionality through material manipulation that created relief if not free-
zwischen, durch, Gottfried Jager (1985). three-dimensionality through material manipulation that created relief if not free-
Fotogram av Kristallisation nr 1B (1892-96). August Strindberg. on photographic plates (Strindberg et al., 2001).
Fotogram av Kristallisation nr 1B (1892-96). August Strindberg. on photographic plates (Strindberg et al., 2001).
Insect wings, as seen in a solar microscope, c 1840. William Henry Fox Talbot, “irrefutable proof” (Barthes and Howard, 2000).
Insect wings, as seen in a solar microscope, c 1840. William Henry Fox Talbot, “irrefutable proof” (Barthes and Howard, 2000).
Strange Fruit (for David) (1992-1997), Zoe Leonard loss and remembrance.’
Strange Fruit (for David) (1992-1997), Zoe Leonard loss and remembrance.’
Portrait of Sir John Herschell (1867), Julia Margaret Cameron.
Portrait of Sir John Herschell (1867), Julia Margaret Cameron.
the effects of time and decay. Deing in the real world (i.e. an image on a paper substrate), would be subject to the image follows the sculpture in real time, like a shadow. Importantly, this forms of photography where a representation of an artefact was produced whict exercise has helped to confirm a gap in existing practice and research; th diagram suggesting the possibility of a still photograph that captures the making
the effects of time and decay. Deing in the real world (i.e. an image on a paper substrate), would be subject to the image follows the sculpture in real time, like a shadow. Importantly, this forms of photography where a representation of an artefact was produced whict exercise has helped to confirm a gap in existing practice and research; th diagram suggesting the possibility of a still photograph that captures the making
The roadmap that captures key historical and contextual moments in my scholarly
The roadmap that captures key historical and contextual moments in my scholarly
Antique Statuette of a Sohynx, William Henry Fox Talbot, from
Antique Statuette of a Sohynx, William Henry Fox Talbot, from
Charles (2007), Matthew Brandt. Salted paper print with sitters mucus. decompose his prints (Brandt, 2014).
Charles (2007), Matthew Brandt. Salted paper print with sitters mucus. decompose his prints (Brandt, 2014).
Sunburned, GSP No.41, San Francisco (2007).
Sunburned, GSP No.41, San Francisco (2007).
Untitled (1992). Jack Sal. Installation with steel plates and photographic papers, Moore College of Art & Design, Philadelphia.
Untitled (1992). Jack Sal. Installation with steel plates and photographic papers, Moore College of Art & Design, Philadelphia.
Sale/ Sala (Salt/ Room) (1999). Jack Sal.
Sale/ Sala (Salt/ Room) (1999). Jack Sal.
Elderberry Snowball (1999), Andy Goldsworthy. Photograph of the process of making. paper to create a visual record of the snowball’s ephemeral dissolution.
Elderberry Snowball (1999), Andy Goldsworthy. Photograph of the process of making. paper to create a visual record of the snowball’s ephemeral dissolution.
Earth Snowball (1999), Andy Goldsworthy.
Earth Snowball (1999), Andy Goldsworthy.
Reflections in and on design episodes and projects. Steven Scrivener (2000),
Reflections in and on design episodes and projects. Steven Scrivener (2000),
Sir John Herschell, Extract from Research notebook, 11 February 1839, The Science Museum Library London. Reprinted in Schaff (1992), Sir John Herschell, Extract from Research notebook, 11 February 1839, The Science Museum Library, with fragments of material exploration (Schaaf, 1992).
Sir John Herschell, Extract from Research notebook, 11 February 1839, The Science Museum Library London. Reprinted in Schaff (1992), Sir John Herschell, Extract from Research notebook, 11 February 1839, The Science Museum Library, with fragments of material exploration (Schaaf, 1992).
Extract from Research Diary No.1 — the key/ legend for colour coding of content.
Extract from Research Diary No.1 — the key/ legend for colour coding of content.
The possibility for double or more exposures in salt photography.
The possibility for double or more exposures in salt photography.
sculpture in the process of formation and dissolution.
sculpture in the process of formation and dissolution.
every...Bernd and Hilla Becher Spherical Type Gas Holder (2004). Idris Khan. that seem to transcend both time and space with vibrating energy. create visual icons of types (becoming in the process archetypes), creating images
every...Bernd and Hilla Becher Spherical Type Gas Holder (2004). Idris Khan. that seem to transcend both time and space with vibrating energy. create visual icons of types (becoming in the process archetypes), creating images
Visitor/ participants to the performative exhibition of findings.
Visitor/ participants to the performative exhibition of findings.
Phil Chang, Monochrome during and after exposure. Unfixed Silver Gelatin Print (2012).
Phil Chang, Monochrome during and after exposure. Unfixed Silver Gelatin Print (2012).
Littoral Drift Nearshore #529 (2017), Meghann Riepenhoff. man-made artefact formed over time.
Littoral Drift Nearshore #529 (2017), Meghann Riepenhoff. man-made artefact formed over time.
Related topics:
PhotographyPhotography TheorySculpturePractice-Based ResearchArts-Based ResearchFine ArtsEphemeral artSculpture and Photography
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