Demand’s photographs are complex and exist in a space between sculpture and photography …. the ‘model’ is the object and the object is the photograph. The sense of what is real/unreal is deflected or diffused. It originates with a process of creating a simulation of the world from photographs of real scenes, this process has been described by Tamara Trodd (2010) as being… ‘a practice in which the sculptural object is created by being externalised from the inside of a photograph and then is re- adjusted or made to disappear again repeatedly systematically inside the image’

this large 'sun-stone camera’ is a up-ended 'captured' rock basin that forms this intriguing standing stone that sits on the northern edge of the central tor at zennor hill. in its original form it would have been larger as its northern flank has been split away with some of remains lying close by. the large rock basin now turned perpendicular to its horizontal position, occupies most of its eastern face. this forms a relatively flat surface and it is against that we can see the sun rays projected.

In 1933 Ray Brassai and Salvador Dali made a series of photographs of fragments of everyday debris. The artists described the series as ’Involuntary Sculptures’ . Ephemeral materials were endowed with a new status conveyed by the photograph. Laszlo Maholy-Nagy used the camera to create objective views of the world, and the world of things. This objective and detached approach associated with the term ‘New Objectivity Photography’ has philosophical overtones in its emphasis on how we relate to or observe everyday objects. (Soutter, 2013)

In the 1960s and 1970s photography was integral for minimalist sculpture, conceptual art and land art. (Godeau,1991). The documentation of temporary works initially generated as a visual map has established a platform for my own research. This photo-documentation becomes a method in the testing of my own sculptural practice and endeavours to articulate dialogues between the object and its photographic alternative.

through montage the juxtaposition of elements, components, materials and contexts reveal hidden, unrealized, social potential. montage as a technique makes visible the gap between this representation and the materially existing object or condition allowing its constructed relationship to represent itself as a critique. the semantic strength of the object sets the sign into question. the images ideational and material elements remain unreconciled, not fused into one harmonizing perspective. the cognitive method of montage is constructed through images where the elements remain unreconciled and are held in a reverborating tension. montage is definitely not a seamless whole, where sign and referent blend into one another.

king aurthur’s moor. from place to place. light drawing. a non-intrusive intervention originally carried out on dungeness beach. a project proposition for king arthur’s hall, bodmin moor.

through photography. the camera is the perceptual instrument through which this world is opened up and provides knowledge of how to act within it. it aids insight and insures us an unexpected expanded field of of action. benjamin asserts that photography has the ability to bring things close and place them to perceptual tests and this leads to a deepening of apperception- 'the mind’s eye, through the camera, reconfigures things already experienced'.

the project is therefore concerned with and motivated by the study of selected artists who have formulated a dialogue between photography and sculpture, and where the photograph functions beyond that of a record or document. consequently, the practice will be theoretically and contextually informed by the history of such processes, and by the concerns of selected artists.  these works initially may be considered disparate or dis-connected although they may prompt the viewer to re-evaluate the material object as a direct photographic referent.

montage.city : constructive montage and the image of the city. my phd by project attempts to place an interdisciplinary practice that involves art, architecture and photography into a philosophical frame, but one firmly rooted in praxis; and [pre]historically within the context of urbanity and city formation. the present intense urbanisation of the planet is traced back to the advent of agriculture and the first cities of the mesolithic/neolithic transition. with agriculture and the domestication of animals comes a nascent urban expansion and settlement, a continuous and extensive human migration, monument building and the first cities; and in time to poetry and philosophy, art and politics.

the intention then is to identify ways in which the process of documenting sculpture may generate something new – possibly some other kind of photograph or thinking process which reinterprets the documentary aspect or the relationship between the referent object and its means of translation. the resulting photo-works may be described in the sense that they subsequently emerge as hybrid products, illustrating that once the photo has been seen, the referent object, the original, can no longer be observed in the same way (benjamin1936). if perceived virtually it may then transpire that the referent object, though not literally present, acts or communicates differently.