This year I applied for the Ian Parry scholarship set up in memory of Ian Parry a photo journalist killed on assignment at the age of 24. I have each year applied even thought since I started my work has drifted away from a purer reportage, and this year I kindly asked for a print to be included in the Getty Images Gallery exhibition by Rebecca McClelland Deputy Director of the Scholarship to whom I am very grateful .
The exhibition will be held at the Getty Images Gallery, 46 Eastcastle St, London W1W 8DX tel: 02072915384 from 16th August for a week.
The pictures are from the private view on the 17th.
It used to be a trend in the medium of photography that some practicing artists, dissatisfied with the static, frozen-in-time image would abandon the single-frame format camera for the moving pictures kind; essentially making a trade for the fourth dimension— that of time.
These days it would seem that a trade has been made again, but the trade is not of the either/or variety. It's a trade up for more skill sets. No longer does it seem that one has to identify or confine oneself to one set criteria of artistic representation or media. Photographers can begat filmmakers which can begat performance work which can begat installation ad infinitum. It's as if there is only one artistic medium anymore, and its name is versatility.
Untitled, from the series In the Fulcrum of Our Dreams by Teo Ormond-Skeaping
Today's contender, Teo Ormond-Skeaping is one such practioner, working in photography, video and installation within the same project concept. His current body of work, In the Fulcrum of Our Dreams, reflects the sensibilities of one that likes to traffic in dreams, archetypes and the shadow-sides of reality. Colors are muted yet singularly and selectively intense at the same time; some moments are blurred and softly vignetted on the edges, others feel as if you can almost smell them. By utilizing still images, moving images and installation to evoke a rich emotional palette of experience, what I am most moved by in Fulcrum of Dreams is how many and how acutely each of my senses are engaged.
Untitled, from the series In the Fulcrum of Our Dreams by Teo Ormond-Skeaping
In Ormond-Skeaping's multi-layered canvas the more bewildering aspects of dreamscape are invoked: sensations of symbolic import paired with faces that may have no relevance in daily life but in dream logic summon up powerful archetypal associations, creating wave of skin-prickling wave of weird emotional resonance. Is the figure below a harrowing relation? A stranger in decline? Someone with menacing and supernatural powers? A reflection of super ego?
Untitled, from the series In the Fulcrum of Our Dreams by Teo Ormond-Skeaping
The open-ended, free-association and stream-of-consciousness that runs thickly throughout this work brings to my mind the work of Bill Viola, who works masterfully at themes which combine spirit, rites of passage, Jungian psychology and the uncomfortable, seemingly unending spaces of dream life.
While it may seem initially intimidating to learn the language of a new medium and/or incorporate into an existing practice the threads of an entirely new one (or two or three), artists that are unafraid of the learning curve and forgiving of self-created messes and mistakes are eventually rewarded with a much larger tool chest and language set by which to communicate their visions.
The full photographic sequence, as well as video and installation portions of In the Fulcrum of Our Dreams can be experienced at Teo Ormond-Skeaping's website.
Untitled, from the series In the Fulcrum of Our Dreams by Teo Ormond-Skeaping
Untitled, from the series In the Fulcrum of Our Dreams by Teo Ormond-Skeaping