Being There
Jo Ractliffe
“Being There emerged as a query during a conversation with art historian Daniela Montelongo in 2019. The question was how to photograph when one cannot be ‘in place’. Then I was thinking about the constraints of physical disability, but with the outbreak of the Covid-19 pandemic and attendant periods of lockdown, this question took on a different inflection.
I have become a thief. This is not entirely new; there have been instances, all the way back to the 1980s even, where, watching a movie, I have paused the frame, got out my camera and taken a photograph – a peculiar compulsion. What’s different here is that almost the entire body of work has its source in documentary and fiction films. Not ‘screengrabs’ or images downloaded from the internet; rather, my camera is set up in front of the screen and I watch and pause and photograph. It’s been quite a strange process: actual photographing but interacting with a virtual world of someone else’s making. And to see what happens when an image is detached from its referent, loses its originating intention and is put into a different configuration. The screen is my portal; I can be anywhere and in any time. Fiction and documentary all mixed up. A world turned inside out.” Jo Ractliffe
Stevenson
2022
Hardcover
72 pages
£50
Enquire
Jo Ractliffe
“Being There emerged as a query during a conversation with art historian Daniela Montelongo in 2019. The question was how to photograph when one cannot be ‘in place’. Then I was thinking about the constraints of physical disability, but with the outbreak of the Covid-19 pandemic and attendant periods of lockdown, this question took on a different inflection.
I have become a thief. This is not entirely new; there have been instances, all the way back to the 1980s even, where, watching a movie, I have paused the frame, got out my camera and taken a photograph – a peculiar compulsion. What’s different here is that almost the entire body of work has its source in documentary and fiction films. Not ‘screengrabs’ or images downloaded from the internet; rather, my camera is set up in front of the screen and I watch and pause and photograph. It’s been quite a strange process: actual photographing but interacting with a virtual world of someone else’s making. And to see what happens when an image is detached from its referent, loses its originating intention and is put into a different configuration. The screen is my portal; I can be anywhere and in any time. Fiction and documentary all mixed up. A world turned inside out.” Jo Ractliffe
Stevenson
2022
Hardcover
72 pages
£50
Enquire