HERE TODAY GONE TOMORROW

CORRECTIONS BY JEANINE RICHARDS

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Gone is an on-going project.
Gone started with an abandoned bed that we saw on the street. Gone had started and the bed was gone.

We are interested in "found objects" that exist on the street. It comes from our observation of our encounters with objects offered by the contemporary urban landscape. We explore materiality as transience, where the use of analog cameras becomes a peculiar kind of time based sculptural practice.

The act of photographing is a method of mapping, measuring, digging, pouring, mirroring and writing of and on a certain site. For us, what is Gone survives as an image but, as such, it is nothing more than speculative narration. Gone could be there forever – but it may be gone in a second. When we approach the road, the urban texture has already produced accidental compositions waiting to be discovered and recounted. It is the relation between different objects, materials and their undercounted stories that appeals us - not the strictly private and public processes accidentally bringing them together.

We do not hesitate to take photos of the randomly occasioned urban material constructions. They end up being together in the same place, for some reason creating a special connection. What is left, then, is the still image to be promptly transferred into analogical and digital forms. The flatness of the photograph embeds the lost materiality of its very subjects. There's no return.

The still images of the objects we collect are then archived, reproduced, digitally duplicated and sculpturally transformed. Multiple realities are expressed through negation and inspiration into variously simulated approaches.

Gone is an on-going project.
Gone started with an abandoned bed that we saw on the street. Gone had started and the bed was gone.