Artists Talk: materials
NAME: Liam Cox
oCCUPATION: Photographer – Current GSN Artist
LOCATION: Newcastle upon Tyne
MEDIA: 'Analog'- photography and video Projection
1. When initiating a piece or body of work how do you determine the materials you will use?
All my work begins on film. It’s such an integral material to my practice. Whether I want the work to be finalised as a print or to be made into a video, all the photographs come from analog film.
2. dO THE MATERIALS THAT YOU USE HAVE A VALUE IN THEMSELVES OR ARE THEY JUST A MEANS TO AN END?
Yes and no. Half of the beauty of film is having a miniature of the final product in your hand. Finally after waiting for development you see what you’ve managed to capture and hope its what you intended. I think that’s why a lot of people are put off by film because the result isn’t instant, for me that’s the greatest part. Having a medium that not only enhances your work from the outset, but hinders you at the same time, allows you to get lost in the moment whilst out on location. You walk round taking pictures and can only hope that you get what you set out to achieve.
The film itself is not valuable in terms of art because it’s never shown. But it is what contains my artwork, so it’s valuable to me personally. I have an ever-growing collection of negatives around my home, studio and also at my parents’ house. You never know if you want to return to a piece of work and re-print it.
The film itself is not valuable in terms of art because it’s never shown. But it is what contains my artwork, so it’s valuable to me personally. I have an ever-growing collection of negatives around my home, studio and also at my parents’ house. You never know if you want to return to a piece of work and re-print it.
3. please could you discuss any correlation between ideology and materials in your practice
My work focuses on ‘overlooked’ details in the landscape that I feel usually go unnoticed. By focusing on subtle details I aim to expose these landscapes that simply exist quietly. It is in their quiet that they first become notable to me.
A window opens up for seconds, when an image crystallizes and a photograph becomes possible. The more reduced, focused or minimal the photograph becomes, the more significant the slightest variations can have. It’s crucial to use a material that is capable of capturing exactly what I am experiencing in the landscape at that moment. A particular photograph exists only in that moment, to return to the location does not mean it will still be there. So using film allows to collect as much detail and information as possible.
A window opens up for seconds, when an image crystallizes and a photograph becomes possible. The more reduced, focused or minimal the photograph becomes, the more significant the slightest variations can have. It’s crucial to use a material that is capable of capturing exactly what I am experiencing in the landscape at that moment. A particular photograph exists only in that moment, to return to the location does not mean it will still be there. So using film allows to collect as much detail and information as possible.
4. do you consider what you materials might look like in the future, or are you just thinking about how they look when you use them? for example, do you consider whether the materials might change?
I think subconsciously I am, but only until I was asked this question have I ever really thought about it. Film is an actual object itself and taken care of, would last forever. Although you can save digital images on numerous memory sticks, hard drives and computer systems they never physically exist and are only a number in a long list. A beautiful photograph could easily be forgotten about and in addition to the last question, this is exactly the opposite of my ideology and work in general.
It also depends on how the work is ‘finished’, because I haven’t sold many art works, and they are usually unframed. After an exhibition or when I start a new piece previous works are often simply forgotten about.
It also depends on how the work is ‘finished’, because I haven’t sold many art works, and they are usually unframed. After an exhibition or when I start a new piece previous works are often simply forgotten about.
5. are your materials significant in how you identify yourself as an artist?
I think so. People have made comments about how old-fashioned I am. How I take my time and put in more effort than the average person. I’m quiet, subtle and produce quite romantic work, which is beautiful in it’s own right. And I think that’s what film is, or at least what it does.