120 Days and Nights of
STAGGERING + STAMMERING
The young man at the beginning of Mirror stammers, and learns not to. My grandmother staggers out of The China Hall, The Pimlico, The Eagle and never learns. In the icy wastes of the French Alps she dives into freezing lakes followed by my grandfather, without even a St. Bernard for company. The Troy Bar always clings. However far I try and get away from Grey Gardens it still tugs me back to Tea for Two. Our lives are smeared throughout the world, recalled through disparate, dissolute, fragmentary images, sounds and memories. 120 Days and Nights of STAGGERING + STAMMERING is an installation that sucks in and spews out images of the people and surroundings it encounters, real or imaginary, wherever it happens to stumble.
Consisting of an old SLR film camera and a LED spotlight each of the 120 ‘projectors’ will throw out images of the people, events and the fabric surrounding wherever it is deemed fit to be exhibited, in an ever changing, cavorting carousel, that documents the transitory lives that pass through this crystalline world. These images will be taken before and during installation and while the installation is up and running. The audience will be invited to donate their own images of the area showing their experiences in it and of it, which then will be re-photographed and slotted into these projectors.
A dense flickering array of images negotiated and dictated by the space, can be projected into, onto and outwards of any given situation. They prefer shady aspects but can flourish during daylight hours too. The larger less bright images are made visible by the descending gloom of the night. The smaller, closer to the wall/ceiling/floor, ones can cope with the intensity of other light sources. The projectors can be clumped together in one location or be spread around different locales as needs be.
The audience will be enveloped in and disrupt this cacophony of images, creating and destroying as they wander through and around them. Shadows will appear and obliterate the wall images only to reappear on the bodies of the transgressors. The images will be instantly recognisable as they will depict places just passed through on the way to the exhibition site. There will be temporal shifts occurring sometimes of mere days alongside others of an indeterminate age. Referents will be lost and gained throughout this encounter.
The projectors are simple ‘plug and play’ devices that are ready to go. Each one uses 1 Watt of electricity and the LED light runs cool with a minimum of heat loss. They come in ‘groups’ of five or six each with its own lead and extension cable. They are easily manoeuvrable and transportable. They come in their own cases which then double up as steady platforms which give the projectors an anchoring point.
Mark Ingham is visual artist who has been making work about and researching into ideas of autobiographical memory and its relationships with photographic images. This work is made up of a number of installations that use SLR cameras and a light source to create photographic projectors. They use photographic slides as their image source and are attempts to create a sense of memories being fuzzy narratives that can constantly change and be changed. These projected photographic images are an exploration into experiences of remembering and forgetting. They are attempts to evoke a form of ‘paramnesia’, whereby fantasy and reality collapse to create a sense of déjà vu.
Photographic images are, like memories, a testament to our complex and elusive past. This idea that photography has altered our perception of the past, and even the perception of time itself, is central to this work. Photographic images are seen as a living ghost of the past, here and not here at the same time, which creates a fundamental shift in the way the world is perceived and conceived.
These installations are an attempt to make manifest some of these ideas and illuminate further the relationships between photographic images and the construction of our autobiographical memories.
Mark Ingham has completed an AHRB funded practice-led PhD at Goldsmiths College, University of London. He studied BA Sculpture at Chelsea School of Art and Design and went to the Slade School of Fine Art for his postgraduate studies. He was then awarded the Henry Moore Foundation Fellowship at Camberwell School of Arts and Crafts.
He is a visiting lecturer and a PhD Director of Studies and Supervisor at Wimbledon School of Art. He is also a Lecturer in the Architecture, and Design Department at The University of Greenwich and a Sessional Lecturer at Ravensbourne College of Communication and Design.
He has exhibited widely, most recently and installation at Dilston Grove for Cafe Gallery Projects called ‘Ars Magna Lucis et Umbrae’ which was funded by an individual grant from the Arts Council of England. Also exhibited in a group show organised by Curating Video entitled EPISODE at temporarycontemporary, London which travelled to Leeds and Miami.