Multimedia and photographic artist Andrew Wright creates a particular kind of imagery that both identifies and challenges conventional uses and understandings of photographic practice. In Still Water, his new photo-sculptural series, he continues his interest in probing the way in which imaging technologies mediate meaning. Wright has explored antique optical devices, such as the camera obscura, as well as contemporary electronic strategies to question conventional approaches to image making and interpretation. Wright’s subjects vary, but they often take on traditional tropes (landscape, portraiture, the natural world, the cinema) to create perceptual bridges that examine the very conditions of image production. The artist sees the seemingly inevitable demise of traditional photographic techniques as problematic, and the beginning of a void. Therefore, photographic “blackness” has become increasingly important in his investigations.
Using images of an endless waterfall at night, Wright’s new work posits an experience of the photographic that sits mid-way between picture plane and object in the round. The photographs are simultaneously recognizable representations that make use of perspectival space, and two-dimensional images of pattern and hue that occupy the real space of the viewer. They become forms of the here and now while referring to an uncertain elsewhere.