Wednesday, July 23, 2008
There's always a combination of satisfaction and surprise when I finalise a selection of works for an exhibition. I'm able to sit back and review the works objectively and to see them for the first time as a group. Their coherence as a group is, in this case, important. The photographs themselves – and my role in each as either creator or curator – are much less important than the collective power of the socio-sexual narrative that underpins PORNO and transforms it from being simply a show with an attention-grabbing title to a provocative but deeply considered conceptual work. As such, I am also conscious of hanging the works (some two dozen in all) in a way that they are experienced in association with each other.I've collaborated closely with my printer, Chris Reed of Blanco Negro, to achieve a uniformity in the dimensions and framing of the photographs. We've also overcome instances of poor exposure and lighting or iffy composition to achieve prints that enhance the content and argue for their consideration as serious art.