The Indexes Series (2017)
Inspired by Simon Starling’s 'Home-Made Eames (Formers, Jigs & Molds)' (2002), this series of photographs is an investigation into my growing fascination with research assuming the role of finished work in its own right. The following questions arose as a result of my enquiry: is ‘the [finished] work’ the work or can documentation/research act as the work too? Does the original object need to be present to validate its own conceptual worth? What happens to the objects when I present them as a photographic simulacrum of themselves? I have answered these questions accordingly: by using a photographic mode of dissemination I call into question the idea of research, presentation and dissemination of the work. Instead of inverting the process of production as Starling does with his work, I have opted to consider the process of production as an Expanded Field Index in itself. By doing this, I have effectively turned these objects into a catalyst for critique, both in a formal and institutional way. By presenting these objects in the way I have, I feel I have cultivated an enhanced sensitivity for the critical weight that materials and processes carry, and how a re-appropriated means of dissemination can form a wider critique of current Expanded Field discourses, calling into question the politics of materials, production and presentation.
All images photographed by Heather Yates.