LIFE WITH
In the series Life With. Walter & Zoniel turn for the first time to listless objects as a form of representation of the self.
After collecting broken and discarded chairs from around the United Kingdom, they then hiked with them into the darkest woods in the world during the middle of the night, on the dark of the moon.
Completely devoid of light pollution, the Scottish forest provided the artists with the perfect environment to set each chair on fire before photographing them as they burned, the only source of light being that which they were emitting during their transformation.
They then use the wood from each chair to make the paper on which the photographs are printed; the limited number of each print has therefore been dictated by the amount of paper produced during the destruction and reincarnation of each individual chair. Against the wooded environment, the history of the chair – from its beginnings as part of a tree, to its life as a chair, right through to its violent end as a much worn piece of furniture - is brought to the fore and then recycled as they make it into the paper on which the story is told.
The artists researched each of the chairs, which span in age from the 1850s to the 1950s, and selected a name for each one choosing from the most popular names in the year the chair was made. Again playing upon the cyclic nature of existence and the emotional links that we have with the objects around us.
After collecting broken and discarded chairs from around the United Kingdom, they then hiked with them into the darkest woods in the world during the middle of the night, on the dark of the moon.
Completely devoid of light pollution, the Scottish forest provided the artists with the perfect environment to set each chair on fire before photographing them as they burned, the only source of light being that which they were emitting during their transformation.
They then use the wood from each chair to make the paper on which the photographs are printed; the limited number of each print has therefore been dictated by the amount of paper produced during the destruction and reincarnation of each individual chair. Against the wooded environment, the history of the chair – from its beginnings as part of a tree, to its life as a chair, right through to its violent end as a much worn piece of furniture - is brought to the fore and then recycled as they make it into the paper on which the story is told.
The artists researched each of the chairs, which span in age from the 1850s to the 1950s, and selected a name for each one choosing from the most popular names in the year the chair was made. Again playing upon the cyclic nature of existence and the emotional links that we have with the objects around us.
LIFE WITH, Frank
|
LIFE WITH, Grace
|
