Changing Focus

I wanted to play with the shadows of this work more, and shift the focus off the original object (the glass) into a more subtle response to environment. I started to photograph the work when the widows of my room what cast shadows. There is a barred black metal balcony rail outside my  window which was duplicating the experience I wanted my manufacture when painting the glass. Therefore by allowing the shadows to pass over its surface  I had created a poetic reference between the ‘created’ in the hands of an artist and the natural.

I wanted to play with the shadows of this work more, and shift the focus off the original object (the glass) into a more subtle response to environment. I started to photograph the work when the widows of my room what cast shadows. There is a barred black metal balcony rail outside my window which was duplicating the experience I wanted my manufacture when painting the glass. Therefore by allowing the shadows to pass over its surface  I had created a poetic reference between the ‘created’ in the hands of an artist and the natural.I think my earlier idea of painting directly onto a window in a space would work better in creating a more subtle work which presented the viewer with a work which was of a relational scale.

When photographing this in situ, I started to capture the bars from my window as they were reflected on the glass’ surface. This started to create a really interesting illusion which confused the viewer but also started to play with perception. I think viewing these three images in conjunction with each-other forces the viewer to question their perception being manipulated by the artists. Photography can no long be viewed within the fine art practise as a recording device for documentation but it has the ability to manipulate a scene completely – as showcased here.