Nymph, (Laura, Slade Art Studios, 4th Floor, Warburg Institute
Posted: Tue Mar 18, 2025 6:22 am
The first came when Bill asked me to stay on for the duration of the Warburg Renaissance project to document the transformation of the building. Being invited to create an alternate, artistic record of the most significant change in the Warburg Institute’s history since its arrival in the UK carried a certain gravitas. This invitation also gave me a much-needed sense of direction, something to work towards. The long-term timeline presented its own challenges, but it suited me well—I tend to prefer extended, ongoing projects over short-term residencies.
Another turning point, as I’ve mentioned, was my discovery of the Settignano woman and the Native American woman from the Pueblo tribe, fleeing from Warburg’s camera gaze inside her home. Both images, beautiful and ephemeral in their own way, left an open question in me. They are “liquid” images, not describing any events but suspended between them. They resonated gambling data vietnam with me because I, too, was a woman moving through these empty rooms, searching for something, yet hiding from something else.
A third encounter was with two young female architects, Laura and Jess, who were given the task to be my chaperones on site while the construction was going on. I felt quite apologetic that they were taken away from their own work to oversee me. Yet as I craved human presence in my images, I asked them to step in front of the lens and become part of the story. Especially with Laura, who was my main chaperone, and whose calmness and sense of safety allowed me to create the kind of intimate images I wanted.
Another turning point, as I’ve mentioned, was my discovery of the Settignano woman and the Native American woman from the Pueblo tribe, fleeing from Warburg’s camera gaze inside her home. Both images, beautiful and ephemeral in their own way, left an open question in me. They are “liquid” images, not describing any events but suspended between them. They resonated gambling data vietnam with me because I, too, was a woman moving through these empty rooms, searching for something, yet hiding from something else.
A third encounter was with two young female architects, Laura and Jess, who were given the task to be my chaperones on site while the construction was going on. I felt quite apologetic that they were taken away from their own work to oversee me. Yet as I craved human presence in my images, I asked them to step in front of the lens and become part of the story. Especially with Laura, who was my main chaperone, and whose calmness and sense of safety allowed me to create the kind of intimate images I wanted.