An artist interview about Tina Moore's participation in the Glocal Project

Can you describe how you have created alternative view points?

In order to capture alternative views of the world I avoided photographing from eye level. Instead, I attached my camera to my ankle when shooting in Portmore Cemetery and placed my camera in a clear handbag when photographing in Antrim Castle Gardens, by attaching the camera to my ankle at Portmore, also known as Laloo, I captured images that are rich with texture, grass often in the foreground, a mid layer of rocks or gravestone and a higher level of trees and sky. An eerie self-portrait, in which the camera cannot be seen, was captured in the reflection on a gravestone.


At Antrim Castle Gardens, the camera was placed from a higher viewpoint, in a bag that was placed over my shoulder. As I walked, the camera was able to move around capturing the remains of Antrim Castle, the woods, historical monuments and gardens. The effect created by the plastic in front of the lens enhances the composition and adds texture to the image plain. The odd look of the images takes on the appearance of older photographs, and I think is quite fitting for such a place with rich histories.

NB - each sequence consists of over 20 time lapsed photos

Artist Interview: Laura Campbell

Can you describe how you have used mobile technology to respond to the Glocal Project?

LC: I set my mobile to take 12 multi-shots as I poured red paint onto a canvas. By the time my action was complete, there were 60 mobile photo shots. A selection are illustrated here.

The writing and the final pictures are at odds with each other? What does it all mean?

LC: First of all, I have written "I like writing in blue paint" but have used red poster paint on a canvas. I am interested in the psychological effects that occur between recognising an event and understanding its output.

In psychology the Stroop effect is defined as the a delay or interference between an event happening and a post action recognition. In the case there is an interference in the reaction time of what the viewer sees, and what the participant has to do.

For instance when a word such as blue, green, red, etc. is printed in a color differing from the color expressed by the word's semantic meaning (e.g. the word "red" printed in blue ink), a delay occurs in the processing of the word's color, leading to slower test reaction times and an increase in the mind's own motor actions making a series of mistakes in undertaking the action. This effect is named after John Ridley Stroop in the 1930s.

What have you done with the images?

LC: I have transfered my mobile phone files at a photo store and had these printed out as a series of snapshots. The shots have been re-assembled as a flip book. I have made a 'paint stroop.'

I also loved how someone saw the book and thought the title referred to the work as being a film strip. Stroop after all could be slang in broad Scots or Irish for strip. What a perfect misreading of the piece! And what a fab way for new value to be assigned to it.

I am thrilled with the piece. Since individuals can flip through the work and experience the stroop effects within the palm of their own hands. It is the perfect cross-over of an immediate and intimate experience happening all at once. Isn't this what the Glocal project was about? About changing people's perspectives and expectations of interactivity ?

Artist Interview: Michael Leonard - repetition and duration

ML: My images are bound by the presence of the two motorbikes shot from above. The scene is animated by the different figures that pass through the frame. This series remains anchored because of the bikes repeating in each shot. This set of work was shot near Place de la Concorde in Paris.

What are your reasons to shot the scene from above?

ML: This perspective was inspired by the work of Rodcenko (see below) and his excitement at the new possibilities presented by the handheld camera to shoot city scenes and subjects from new
angles. Distance creates tension between forms and plays with what the eye can read.




What do you like best about the series?

ML: The last image in the sequence, as the girl exchanges a glance with the camera references my position perched on a level a few metres above, just outside the Musée de Jeu de Paume.

Artist interview: David Sproule

Can you describe how you approached the Glocal project in terms of finding and shooting from an alternative perspective?

DS: For this project I have taken photos of myself from a variety of unconventional angles. Using deliberately unusual and awkward positions for the camera, my aim was to produce a set of images that would be of some interest because they have a certain ambiguity. The most common repeating feature is my figure whereas the location or the nature of my surroundings and my position and relationship to camera are less clear and ambiguous. The pictures have had minimal treatment to improve lighting and colour contrast. I tried to think of inventive places to put the camera so as to produce pictures that would appear a little surreal.

Can you describe the photo shoots?

DS: One set involved using the dynamically varied and well lit structure of a bridge underpass. By placing the camera on a particular part of the floor and positioning myself between two support beams I was able to produce images in which perspective is exaggerated and the angles, in terms of their relation to the vertical, are somewhat vague too.

In the same location I tied my mobile phone onto my leg. Thought about some tricks and skateboarded my way through the underpass. Again I enjoy the ambiguity of the shots. Motion is captured but focus is not. It is only when the viewer stares long enough at what was recorded, can they guess what actions have led to the shots.

How about the odd aerial images? How were these created?

DS: This set of pictures was created by attaching a small camera again my mobile phone to a ball which I then through up in the air. I watched it the whole way, so as to make sure I caught it. Using the delay timer I was able to get some pictures from directly above me with me looking up. I was standing in the middle of a large open space and there is no evidence of any structure around me. So the pictures have a slightly strange almost fake look to them but they are very much real as evidenced by the concentrated expression which can be seen on my face.

Artist interview: Michael Leonard

Where are you? And what are you recording?

ML: This series looks at the Paris underground. The metro is often associated with the humdrum of daily Parisian life, summed up by the expression métro, boulot, dodo (metro, work, sleep).

How do you describe these works?

ML: These images capture some of the peculiarities of the subterranean world of the metro. Some of them are reminiscent of Paris Mortel, Van der Keuken’s portrait of Paris in the sixties.

The repetition in form and placement of the figures is uncanny.

ML: For me the ability to observe surreal coincidences between people and location is another way to locate unusual forms and perspectives. In this work, this repetition provides a platform of stillness and reflection amid the apparent monotonous cycle of métro, boulot, dodo.

Artist Interview with Daniel Hutchinson

Can you explain how you devised the project ‘Inside Looking Out’?

DH: From the outset of this project I consciously decided I was going to venture into the city in hopes of finding uncommon perspectives reflecting how we live in urban metropolises. I realised early on everybody that enters the city, tends to find themselves on the high street window shopping – gazing longingly into shop windows and at manikins.
So I thought what if it I could reverse the familiar gaze of looking into shop windows from the other side. I wanted to reverse this viewing process and make the store window, manikins, promenade, and passer-bys the focus of my image sequence.

How have the images been framed? What compositional rules did you chose?

DH: These photographs are quite strange and abstract but I liked this quality about them - new perspectives should not be too clear or figurative. The photographs almost seem to capture the sight line or perspective of the manikins. In the Glocal project, I liked the idea I could also play with the concepts of stillness and unusual view points.

Again its odd and unsettling to capture the manikins’ sight lines as they peer out onto the world know will not know or realise….I realise I am personifying these figures but I find it interesting since their gaze is a point of position the viewer will never occupy.

How do you view capturing different views on looking on the outside-inside?

DH: I was surprised in some of the more abstract photographs the buildings across the street became reflected and part of the window displays. By allowing things outside the photographic frame to enter it, new perspectives entered the scene that I had not anticipated.
....again I feel a little bit like French photographers Eugene Atget or Doisneau a purveyor capturing the changing city from both the in and outside.



Image left: Eugene Atget: Avenue des Gobelins (before 1926)
George Eastman House Collection; below: Sidelong glance
Robert Doisneau, 1948 © Estate of Robert Doisneau

Artist interview with Peter Marley

Artist interview with Peter Marley

Q: Can you explain more about the Iris-in and Iris-out effects you have adopted in your work?

A: In a world where the influence of pop-culture cinema and the subsequent filmic techniques are having a greater effect on how we, as artists, see the world it can be interesting to satirize their ingrained forms and structures. By applying the ‘Iris-in’ and ‘Iris-out’ filmic techniques of framing onto mundane scenarios the significance and composition is placed askew. In motion pictures there is a stigma associated with a harsh vignette that a critical action or crucial reveal is about to take place.

Q: Can you explain more about this phenomenon in popular culture and film?

A: A popular example of this would be the character entrances in FW Marnau’s Nosferatu (1922) or the pivotal scenes in Robert Weine’s The Cabinet of Dr Caligari (1920). By placing a harsh vignette (using a toilet roll tube slotted into a 50mm lens) around a solitary object the viewer is challenged to look again at the object and reevaluate the entire image.

Q: How do you consider your work produced for the Glocal project?

A: I am fascinated by the question and process of, “What is being excluded in the frame? The goal of this alternate method of taking photos was to playfully twist cinematic methods and as a result challenge the viewer to reassess common scenes and scenarios when they appear with intensified focus.