No Sucksess Like Failure

HEY. HOT SHOT 2011.

2011-11-08T02:41:00.001-08:00

By Qian Ma on November 7, 2011 12:31 PM

Untitled, from the series Particle Progress, 2011 by Teo Ormond-Skeaping

When we first wrote of Contender Teo Ormond-Skeaping, blogger Stacy Oborn commented that his then-submission, In the Fulcrum of Our Dreams, reflected "the sensibilities of one that likes to traffic in dreams, archetypes and the shadow-sides of reality."

Ormond-Skeaping's recent submission, Particle Progress, again visits similar sensibilities. The project was intended to be "represented in a 'zine' format containing 21 images... forming a fragmented narrative, [with] diptychs on facing pages preceded and succeeded by two full-bleed images, as well as diagrammatic text." The artist also plans similarly themed installation and video work.

Untitled, from the series Particle Progress, 2011 by Teo Ormond-Skeaping

Ormond-Skeaping says of his latest project:

"The particle is responsible for the simplification of the explanation of existence and thought. [It] functions as a fundamental basis for all matter and processes, its finite answer only applicable as long as there is no further manifestation of inexplicable forces. This is equally true of teleology and the finality of existence; knowing that we may only perceive and predict the causality of what will exist between Creation and Infinity during a lifetime—assuming that "life" is defined as a period of conscious existence—we have no means to experience any actuality of finality."

Untitled, from the series Particle Progress, 2011 by Teo Ormond-Skeaping

Teo, a semi-finalist from HHS! 2010, lives and works in the U.K. He received a BA in photography at University College Falmouth, and he has been enrolled at SLADE school of Art in London for an MFA since 2010. His work includes photographic, video and installation-based pieces.

PARTICLE PROGRESS

2011-10-13T11:27:00.001-07:00

NEW WORK PART 1.

HERE

THE NATURE OF ANGROVE.

2011-08-09T06:22:00.000-07:00

The Nature of Angove is an OddBodies Film, having been shot at the beginning of July 2011 it is currently in post-production to find out more about there productions and read the synopsis of their film please visit there website.

2011-08-09T06:15:00.000-07:00

Thank You HOLY GHOAST ZINE.

Work In Progress 2011.

2011-08-09T06:02:00.000-07:00

"Omega Point."

FEAUTURE SHOOT SINGLES

2011-06-22T11:18:00.000-07:00

THANK YOUFEATURESHOOT.

S.F.T.E - COMMISSION

2011-06-12T06:17:00.000-07:00

S.F.T.E is a feature in Development by Rachel Tillotson the photographs I have taken will be used as part of the ongoing deveopment of the characters and the acetic of the film.

I.

II.

III.
More soon.

WPO: Peoples Choice Moving Image Award.

2011-05-02T10:14:00.000-07:00

I have been kindly nominated by Barry Lewis (Thank You Barry!) for the WPO Moving Image Peoples Choice Award, the award is based upon public votes on line and the short version of In The Fulcrum Of Our Dreams will be on show with all the other judges’ favourites in the Embankment gallery bellow Sommerset House from 26 April - 22 May as part of the Sony world Photography Awards exhibition.

The pledge from Barry Lewis:

I found this the most intriguing of the videos submitted. It is conceptually more complex than many of the others, taking the viewer into a cold, mysterious landscape evoking a story moving outside the frame. The viewer’s journey is uncomfortable.
Using only still images (with no cinematic pans or zooms) and a powerful soundscape, the narrative unfolds with a powerful sense of place with impending darkness and violence. Much of the action is implied rather than explicit and the viewer has to work as hard as the director but the reward is a haunting sense of being there.

Voting can be done HERE!.

The Sculpture of John Skeaping

2011-04-22T12:00:00.000-07:00

The Sculpture of John Skeaping will be the first criticle retrospective of my grandfathers work.The book is part of a series of books on neglected 20th Century British sculptors, commissioned by The Henry Moore Institute and published by Lund Humphries. The critical text by John Blackwood reveals his central position within in the development of British sculpture as well as his personal development as a modern British artist.

The catalogue raisonne is the most comprehensive so far and includes many colour and black & white images.

Copy's can be Ordered directly from the publishers by contacting.

Karen Marlowe-Norris of Ashgate Publishing.

kmarlowe-norris@ashgatepublishing.com

01252 331 551

Video Work In Progress 2011-

2011-04-03T10:06:00.000-07:00

Stills from "Untitled" video work in progress 2011-.

"Fate's All Right. He's plainspoken but I like him. I've rode with him a lot of times."

WhiteLoupe Photography Blog

2011-02-06T11:06:00.000-08:00

Thank you to Andrew McCloskey from the Whiteloupe Photography Blog who asked me to write something for their From the Photographer series. Keep up the good work Guys.

Posted By The WhiteLoupe photography Blog

About a month and a half ago I posted a feature on Teo Ormond-Skeaping and his project In the Fulcrum of Our Dreams (original post). Since then I've had a correspondence with Teo who, after some necessary time for brewing his thoughts, has blessed us with words that make my head churn with ideas and conceptions until I'm scratching. In this edition of "From the Photographer" Teo shares with us his thoughts on what a photograph is and what it can do and what it means to capture experiences. Read through the break, all of you now. Then go check out Teo's website to see the rest off the project along with some of his other work.

All I wish is that I could explain, but I know I would doubt it the moment I did. But what I experience, what I take from not being able explain has become far more important.

I have come to believe that photography may be considered a collection of experiences. That conscious or unconscious, the collection is an acknowledgement of an interaction or process that is considered by the artist to be of a certain value at a certain time.

If that were so we could consider that an experience, and therefore an image, may be valued higher because it is “New” to the individual; assuming there is a base level of experiences that have been collected so often that they no longer hold any value.

This base of experiences would conceivably grow with the pursuit of the valuable “New” experience, the process both condemning the world of available experiences and perpetuating its confrontation. And though it is not possible to have confronted a finite number of experiences the “New” experience would become increasingly rare, as experiences are grouped upon discovery by their similarity’s to avoid the repetitive confrontation of similar occurrences.

We could consider that the highest level of experience would be the metaphysical. This would be an experience that cannot be defined, that in some way an occurrence momentarily represented a semi-conscious understanding of a connected series of preceding and subsequent events that had defined an experience, which the conscious mind cannot retain.

What residual is left by this inexplicable experience is an appreciation of that which cannot be defined and an ability to acknowledge within the work of others the allusion of the same experience.

Seemingly this appreciation of the unknown may add value to the world of experiences where it had been exhausted, yet at the same time it has demoted all but the highest level of experience to the base level. With no determinable reason for the pervious metaphysical experience every action new or old would be considered both right and wrong, both pointless and important.

Actions may begin to contradict as we try to induce such experiences. We may find ourselves cutting down a tree when previously one had fallen in its old age in front of us. We have then become the thing that we wished to oppose.

Creation then becomes the study of almost attaining. The suggestion and acknowledgment of narratives that are inconclusive, horizons, receding roads and all that lies out side of peripheral vision necessitate the continuing confrontation of realty.

The road or the un-crossable horizon then becomes emblematic of both a lack of understanding and a persistence to acquire knowledge, if we consider that experience is equivalent to knowledge.

As the conditions of collection change, photography its self becomes part of the base of experiences, though its method of collection remains fundamentally important it is superseded by the ability to represent time and three dimensional forms.

Collecting and editing moving images enable the combination of experience and the dictation of duration, recording the prerequisite and the void that a valued experience inters within an individual. Where the installation is a facsimile of reality, evoking memories of designated experiences that are intended to demonstrate the value of what was New and significant to the artist.

Time may be the only factor that can revive experiences, yet time itself may be considered as an experience. Valued numerically and perceived at fluctuating speeds, it potentially can be relied upon as a catalyst of confrontations, though its perception signifies its irreversible passing.

For example by remaining in one location within even the most remote landscape say a desert, eventually there would be an occurrence, maybe a snake would move past nearby, or a single cloud over head would momentarily obscure the sun. Yet imagine that after one week of remaining still in a dark cave nothing has occurred, the smallest sound of a drop of water would be given the greatest significance even though just a week before it had been part of the base of experiences.

We may also consider that the definition of a system that rationalises our actions is equivalent to the absurdity of collecting experiences, that once defined it is instantly disproved and doubted. The structure becomes part of a collection of failed explanations, replaced by the next potential system each time dependant on the confrontation and the perception of experiences.

This state of disbelief is invaluable; it is a romantic appreciation of how we failed to explain, where we would never create if we believed that nothing could be explained.

Teo Ormond-Skeaping

The WhiteLoupe photography Blog

UNTITLED

2010-11-07T02:23:00.000-08:00

UNTITLED

'That every photograph is a cultural artifact means that it appears within a context, even if that context is unknown. It is precisely the enigma of an absent context that can make a photo interesting…'
L Sebastien Purcell, PhaenEx,Vol 5, #1 2010

Trace is back with a new exhibition of photography at there Camborne residences, so go see…

The exhibition has been curated by Tom Jenkins and Rebecca George. And of course Sian Bonnell and George and it looks great!

The exhibition is open from the 6th to the 14th of November from 2-6pm on weekends and by appointment during the week…

You can find more information here..

TRACE

Vyner Steet to Plymouth SHED

2010-10-28T02:38:00.000-07:00

Vyner Streer SHED

Thank you to every one who came to see the shed at The Foto Now South west graduate photography award exhibition at Vyner Street. The SHED will now be exhibited from the 23rd of October until the 23rd of December as Part of the Foto Now Cameras in the Community exhibition in the Plymouth Arts Centre. With an open activerty day on the Saturday 30th of October. So bring the wife the kids the dog your neighbour or just you self everyone is welcome.

Foto Now- Come and See the Shed

2010-09-17T01:10:00.000-07:00

The shed is going to on display for one week only in london, as part of the FOTO NOW south west graduate award befor returning to Plymouth arts center until december.The exibition is open to every one so please come along.

Ian Parry scholarship 2010

2010-08-18T10:44:00.000-07:00

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.

HEY HOT SHOTS!

2010-08-07T02:35:00.000-07:00

By Stacy Oborn on July 26, 2010 1:19 PM

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 THE FULCRUM OF OUR DREAMS from teo ormond-skeaping on Vimeo.

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.

I ENJOY CONTEMPOARY PHOTOGRAPHY

2010-06-29T04:29:00.000-07:00

IECP

Work In Progress

2010-02-19T06:56:00.000-08:00

One day all the trees in the world will fall.

JM Colberg

2010-01-09T09:07:00.000-08:00

Teo Ormond-Skeaping

By Joerg Colberg on October 14, 2009 9:37 AM

"What I struggle with is that every thing excites me, cities, supermarkets, roads, dirt, rubbish, car parks, advertising, people, deforestation, excavation, fires, floods and violence. All of these things can be beautiful, yet I see the damage; the pain the obscenity of everything. When I am in the city, I long for the country the open space around me, yet in the city I enjoy all that goes on around me." - Teo Ormond-Skeaping

The Peach

2010-01-09T09:01:00.000-08:00

What sort of man is it that when he looks out of the window, only sees himself starring back. Unable to see beyond the reflection. And if this man was to talk, and i mean really talk, honestly with conviction and release the anguish and self loathing in the way he spoke. What could he say.

"Every one has there own way of copying. Some look inwards, writing, thinking as a way to exercise some of there evils. Others look out to the world, recording it, looking to it for inspiration and comfort. They record the train ride home, the moments filled with solitude and longing, times of joy and exasperation. These are the moments they prey for, wait for, live for. the silent photographer, the poetic one."

a tribute to la peche

From Too Magenta

Freinds in High Places

2009-10-26T02:17:00.000-07:00

The Too Magenta blog has been established by a friend of mine as a proving ground for creative righting that is paired with other photographers images as a way of responding to there work rather than simply archiving them. The posts are there for quality and not quantity.

Check it out here: TOO MAGENTA

AND NOW FOR SOMTHING COMPLETELY DIFFERENT

2009-10-19T11:38:00.000-07:00

“When that crop grew, and was harvested, no man had crumbled a hot clod in his fingers and let the earth sift past his fingertips. No man had touched the seed, or lusted for the growth. Men ate what they had not raised, had no connection with the bread. The land bore under iron, and under iron gradually died; for it was not loved or hated, it had no prayers or curses.
Steinbeck.

Change is ultimately good, isn’t it? Yet why take something you’ve done well for years and start again with the left hand, what was wrong with the right.
New challenge/ New shape. Light in a rectangle, the world up side down and the decisions of a painter? Change is good, but the right hand works harder and will not be forgotten. No decisions here.

My Heart

2009-08-29T07:25:00.001-07:00

Nothing to Smile About

2009-08-29T07:10:00.000-07:00

"I have nothing to smile about, now my wife is laughing at me"

2009-07-21T02:49:00.000-07:00

Work in Progress: Redroof 2009