Skirts 2011 Exhibited: • Les Recontres, D’Arles, France, 2013 • Sleight, Brancolini Grimaldi, London, UK, 2011 • Paris Photo, Paris, France, 2011 One of art’s distinctions is to provide maximum emotion using minimum means. Something in which photography excels. And when the photo in question shows nothing, Hidden under next to nothing, When it keeps your eyes and your mind so constantly focused, then you feel you are nearing the goal. The sheer magic of the lightning transition from two dimensions to n dimensions without even considering three dimensions. This chasm opened before me, quite by chance, without even trying, when confronted with some small photos. Small tables covered with small skirts. Hung on my wall, these temples force me to believe. In what, I don’t want to know, but certainly in Clare Strand. Phillipe Starck, 2012
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Skirts 2011
Exhibited:• LesRecontres,D’Arles,France,2013• Sleight,BrancoliniGrimaldi,London,UK,2011• ParisPhoto,Paris,France,2011
Oneofart’sdistinctionsistoprovidemaximumemotionusingminimummeans.Somethinginwhichphotographyexcels.Andwhenthephotoinquestionshowsnothing,Hiddenundernexttonothing,Whenitkeepsyoureyesandyourmindsoconstantlyfocused,thenyoufeelyouarenearingthegoal.Thesheermagicofthelightningtransitionfromtwodimensionstondimensionswithoutevenconsideringthreedimensions.Thischasmopenedbeforeme,quitebychance,withouteventrying,whenconfrontedwithsomesmallphotos.Smalltablescoveredwithsmallskirts.Hungonmywall,thesetemplesforcemetobelieve.Inwhat,Idon’twanttoknow,butcertainlyinClareStrand.
PhillipeStarck,2012
Signs Of A Struggle 2001/2002
Exhibited:• SignsOfAStruggle:PhotographyintheWakeofPostmodernism,Victoriaand
AlbertMuseum,London,2011.CuratedbyMartaWeiss.• ClareStrandPhotographyandVideo,MuseumFolkwang,Essen,Germany,2008.
CuratedbyUteEskilden.• ClareStrandPhotograpahyandVideo,MuseumfurPhotographie,Braunschweig,
Germany,2008• BetweenTimes.Instants,intervals,durations,CentrodeArteLaRegenta,Las
Palmas,CanaryIslands,Spain,2011.CuratedbySergioMah.• ImagesRecalled,FotofestivalMannheim,Germany,2009.CuratedbyEsther
Reulfs.
FromtheageofthreeClareStrandwasbroughtupinSouthCroydon.AttheageofeightshevisitedCrawleySportscentreforafamilydayandfromtheredevelopedakeeninterestintrampolining.WhenStrandwasfourteenafamilyfriendmovedwithherboyfriendtoawidebutshallowterracedhouseontheCrawleyBroad-fieldEstate.Sixweeksaftertheirarrivalthecoupleseparatedduetoirreconcilabledifferences.Inthesameyear(1986)theremainsofabodywerefoundintheNewForest.StrandwatchedtheCrimewatchUKappealwithinterest,themurderhadtakenplaceontheBroadfieldEstateandinawidebutshallowterracedhouse.TheNewTownofCrawleyisperfectlysandwichedbetweenStrand’shometownofCroydonandhercurrenthomeinBrighton.TravelingupanddowntheA23shepassestheCrawleyturnoffsnumeroustimesandisremindedoftrampolining,familydaysandwideandshallowmurders.
Gone Astray Portraits 2001/2002
Exhibited:• Xposeptembre,FotografinsHus,Stockholm,Sweden,2004• FantasticRealism,TallinnTownHall,Estonia,2004• MadeinBritain,HuisMarseille,Amsterdam,Holland,2006• Restage,TheArtsGallery,London,Uk,2006• HowWeAre,TateBritain,London,Uk,2008• ClareStrandVideoandPhotography,MuseumFolkwang,Germany,2009• ClareStrandVideoandPhotography,MuseumFurPhotographie,Braunschweig,
Germany,2009
ClareStrand’sGone Astray picturesformtwogroups,thePortraitsandtheDetails.Theproject,proposesaseriesoftwinnedthemes,theUrban/Rural,Fashionable/Unfash-ionable,Poise/Disequilibriumandthefake/documentaryinthecontextofthestreetsofLondon.Theall-pervadingtoneofStrand’sstagedPortraitsisoneofanxietyandvulnerability,invokedinCharlesDickensaccountofbeingayoungchildlostintheCity.
ChrisMullen,2012
10 Least Most Wanted 2012
Exhibited:• Sleight,BrancoliniGrimaldi,London,Uk,2011• PurchasedbyCentreGeorgePompidou,Paris,2012
10 Least Most Wanted,isanexerciseinpreferencesandtheirundoing.Itisaboutre-linquishingcontrolandchallengingone’stasteanddecision-making.SinceIwasyoungIhavecollectedindicativeimagery,whichhascontinuouslyinformedmyphotographicpractice.Thisacthasresultedinacollectionoftattyandadhocscrapbooks.
Mystartingpointwastoemploythesimpletaskofchoosing10imagesfromthesescrapbooks,my‘10mostwanted’.AftermakingthisselectionIdiscoveredbychancethepotencyandpotentialoftheirreverse.Itisthatreversethateventuallybecamethework.Eachresultingpaperfragmenthasbeensuspendedinclearacrylictoallowclearviewingofthe,nowprioritised,reverse,withtheoriginallyselectedimageteasinglyob-scuredtothespectator’sgaze.Aboveallitisthephysicalserendipitousactofmakingaworkthatisofthegreatestinteresttome.Thesimplicityofgoingfronttobackhighlights,formetheshiftbetweenintentionandrealisation,andtheconfoundingofanobjectivebytherandom.10 Least Most Wantedliesatthecentreofanabsurdistuniverse,andmakesreferencetotheperverseconflictsofforcestobefoundinsurrealistwork,inparticularthatofMarcelDuchamp’sworkwithwindow,booksanddoors.
ClareStrand,2012
Flatland/Spaceland 2012/2013
Exhibited:• LesRencontresd’Arles,France,2013• ParisPhoto,Paris,2012
ClareStrand’stwonewbodiesofworkSpacelandandFlatland areanextensionoftheartist’sengagementwiththemonochromaticimage,hereextendingintothecolourmonochromeforthefirsttime.
WithFlatlandandSpaceland,Strandhastakentraditionallyprocessedphotographicpaperandthencutandfoldedittomakethethree-dimensionalandtwo-dimensionalartworksondisplay.Thisphysicalconstructionoftheobjectsisintentionallyvisibleintheworksandconfoundsthe,nowcommonplace,digitalproductionofphotographyandsculpturethrough3Dprinting,Photoshopandmyriadothercomputer-drivenproductionmethods.TheoutcomesofthesemanualprocessesmirrorStrand’smostrecentworks,relyingonfaultstosignalauthenticityandserendipitytorevealherbeliefinthepowerandpossibilitiesofhappenstance.
TheinspirationfortheworksondisplayistakenfromEdwinAbbotAbbot’s1884satiricalnovellaFlatland: A Romance of Many Dimensions.Thenarratorisahumblesquare,amemberofthesocialcasteofgentlemenandprofessionalsinasocietyofgeometricfigures,whoguidesusthroughsomeoftheimplicationsoflifeintwodimensions.Heisthenvisitedbyathree-dimensionalsphere,whichhecannotcomprehenduntilheseesSpacelandforhimself.ThisSpherevisitsFlatlandattheturnofeachmillenniumtointroduceanewapostletotheideaofathirddimensioninthehopesofeventuallyeducatingthepopulationofFlatlandoftheexistenceofSpaceland.
BrancoliniGrimaldi,2012
Gone Astray Details 2001/2002
Exhibited:• MadeinBritain,HuisMarseille,Amsterdam,Holland.,2006• ClareStrandundVideoandPhotography,MuseumFolkwang,Essen,Germany,
2009• ClareStrandundVideoandPhotography,MuseumFurPhotographie,
Braunschweig,Germany,2009
ClareStrand’sGone Astraypicturesformtwogroups,thePortraitsandtheDetails.Theproject,proposesaseriesoftwinnedthemes,theUrban/Rural,Fashionable/Unfash-ionable,Poise/Disequilibriumandthefake/documentaryinthecontextofthestreetsofLondon.Theall-pervadingtoneofStrand’sstagedPortraitsisoneofanxietyandvulner-ability,invokedinCharlesDickensaccountofbeingayoungchildlostintheCityinhisshortstory,GoneAstray,(1853).
“IntheDetails,aswecontemplatethesignsofunseensubterraneanforcesinthecity,thereis,again,aconsciouslyhamstaginess,theshallowflash-litrevelationsofWeegeeandBrassai,forcedtocomplywiththemorewhimsicalprioritiesofanurbannaturetrail.Hereandelsewhere,thereisasensethatStrandisalwayssmilingbehindthecamera,thesoberformalornarrativesdialoguebetweenimageandaudienceareforeverbeingthrownintoconfusion.”
DavidChandler,2009
The Betterment Rooms - Devices For Measuring Achievement 2005
Exhibited:• Work,MuseumFolkwang,Essen,Germany,2005• SenkoStudio,Denmark,2005• ClareStrandRecentWorks,FotografinsHus,Stockholm,Sweden,2008• DeutscheBank,London,Uk,2008
The Betterment Room - Devices for Measuring Achievement isastudyexaminingthevisualidentityandbehaviorofthepostindustrialworker,takingasstartingpointthephotographictimeandmotionstudiesofFrankandLillianGilbreth(1912).Inthisnewstudy,theBlithe,thewillingandthecompliantareequippedwithappropriatemechanismandattachments,setagainstgridsandclockstohelpthestudyoftheirproductivecapacity.Theimageshowever,haveauneasystasis,signalingthatthemodernactivitieswenowcallworkhavebecomemoremysteriousandlessquantifiable.TheCyclegraph seriesbecomesanattempttoanalyseanddeterminethetrajectoriesofStrandsownactivitythroughoutthemakingoftheworkanexerciseinabsurdismthatneverthelesshasitspre-determinedfunction-nomatterhowpointless.
ChrisMullen,2005
Conjuration Films 2009 Exhibited:• ClareStrandVideoandPhotography,MuseumFolkwang,Essen,Germany,2009• ClareStrandVideoandPhotography,MuseumFurPhotograhie,
Braunschweig,Germany,2009• TimeTimeless,HeinzBossertGallery,Cologne,Germany,2009• Sleight,BrancoliniGrimaldi,London,UK,2011• ClareStrandRecentWorks,FotografinsHus,Stockholm,Sweden,2008• Taschenspielertrick.FoumFurFotografie,Cologne,Germany,2012• lianzhoufotofestival,China,2012
Onfourmonitorsfouryoungwomenperformsmall,shop-bought,childrensmagictricks.Theresultingfilmsareloopedandthetricksareplayedoutagainandagain.ThesemovingimagepiecesaredescribedbyStrandas‘MovingPhotographs’makingreferencetoGeorgeMélies’earlyexperiments,fromhisownstanceasstagemagicianandtrickster.
1.Mouth Streamer20092.Head Turner,20093.Egg From Mouth,20094.Brain Floss,2009
BrancoliniGrimaldi,2011
Conjurations 2009
1. Girl in Two Halves2. Aerial Suspension
Exhibited:• ClareStrandVideoandPhotography,MuseumFolkwang,Germany2009• ClareStrandVideoandPhotography,MuseumFurPhotographie,
Braunschweig,Germany2009• TimeTimeless,HeinzBossertGallery,Cologne,Germany,2009• Sleight,BrancoliniGrimaldi,London,UK,2011• TheWondersOfTheInvisibleWorld,NorthernGalleryofContemporaryArt,
Sunderland,UK,2012• FallingUp:TheGravityofArt,TheCourtauldInstitute,London,UK,2012
Girl in Two HalvesandAerial Suspension alludetotrickphotographyanditsfraughtrelationshiptomagicandthevisualisationofthemysterious,theunseenorthespiritual.Theimagesareintendedtobesimultaneouslybelievedanddisbelieved.
ClareStrand,2011
Unseen Agents 2009/2010Exhibited:• ClareStrandVideoandPhotography,MuseumFolkwang,Germany,2009• ClareStrandVideoandPhotography,MuseumFurPhotographie,Braunschweig,
Germany,2009• ClareStrandRecentWorks,FotografinsHus,StockholmSweden,2008• ImagesRecalled,FotofestivalMannheim,Germany,2010• MuseumFurPhotographie,Cologne,Germany,2012InUnseen Agents,thePhotismseriesemploystheuseofthehighstreet,‘AuraCamera’foundin‘SpiritualShops’orFairs,whichpurporttoprovideadetailedstudyofasub-ject’scharacterandenergy.ThelayingofhandsuponametalsensorproducesasmallcolourPolaroidthatbears‘witness’toauraprojectionandetherealentity.StrandtermsthisimageaPhotism (Aluminousimageorappearanceofahallucinatorycharacter).Inthisseriesthereisaperversesenseofdenial,achievedbystrippingawaytheverycolouroftheoriginalphotographicdocument,sonecessarytothedecodingofAurasandEmanations,asextolledbytheTheosophistsand,evenmorerecently,byNewAgePsychodelics.Incontradictiontoo,thesmallworkingPolaroidispromotedtocontempo-rarygallerystatusbyitsambitioussizeandslickproduction.InKirlian StudiesStrandpresentsuswiththeKirliancameraplate(inventedbyseymonKirlian1939todetectmetaphysicalenergyoftheanimateandinanimate).Thecontra-dictionpresentedtousisthatthereisnopictorialoutcome,justthewitnessingoftheprocessitself.Strandconcentratesonthemechanismsofachievingtheimage,ratherthantheimageitself.Moreprecisely,theKirlianapparatusisbroughttobearonthecharacteristicsofthefemalesubjectsinthePhotisms(Hair,Tread,Touch,Breath.)
Exquisite Corpse, 2012
Exhibited:• TheresSomethingHappeningHere.CuratedbyTomWattandJamesReid.BrancoliniGrimaldi, London,Uk,2012• PresentTenseFuturePerfect,FeldbuschGallery,Berlin,Germany,2013.
FashionShootforAnOtherMagazine
ClareStrand’sExquisite Corpsere-imaginesthefashionshootasamacabremedia-tiononsurrealismandmutilation.InfluencedbytheNelsonandBayliss’bookontheElizabethShortmurderof1947,alsoknownastheTheBlackDahliacase.Exquisite Corpse,bothobviouslyandobliquely,referencestheSurrealistimagerythatStrandadmiresandfeelsconnectedto.Theslicingofthephotographicsurfaceinrela-tiontoShortsmutilatedbodybringsaboutacompellingresonance.
BrancoliniGrimaldi,2012
The Seven Basic Propositions 2013
Exhibited:• InternationalPhotoFestival,KnokkeHeist,Belgium,2013
WebworkandMutiMediaProjection2010/2013http://interact.com.pt/17/the-seven-basic-propositions/
The Seven Basic Propositionsisadigitalprojectinspiredby,andutilising,thetaglinesof1950sKodakmagazineadvertisements.Thesesevenselectedproposi-tionspointtotheearlyexcitementaboutthepossibilitiesforphotographyasamassparticipatorymedium.Butwhenremovedfromtheiroriginalcontextandtime,andusedtodriveGoogleimagesearchestheytakeonadifferentmeaning,pointingouttheproliferationofphotographyintoeveryareaofourlives.
Theadvertisingstatementsareunequivocalanddefinite.The Seven Basic Propositions projecthowever,consciouslyandplayfullyrevealstheend-pointofthispromiseandreportsthat,wheneverythingisrecordedandmadeavailabletoeverybody,nothingisreallyuniqueorindividual,andcertainlynothingaboutphotographyisdefinite.
GordonMacDonald,2013
The Ragpicker’s Tower 2013
Exhibited:• InternationalPhotoFestival,KnokkeHeist,Belgium,2013
Strand’scollectionofutilitarianimagery,‘ragpicked’overmanyyears,hascontinuallyinformedherphotographicpractice.In2011,Strandexhibited10 Least Most Wanted (sinceacquiredbyCentreGeorgePompidou,Paris)incorporatingherarchiveforthefirsttimeintoanexhibitedwork.
TheRagpicker’s Towerisa‘totem’toresearchcomprisingofStrand’sselectedissuesofcollectedAmericanpulpmagazines.Themagazinesmakingupthetowerhavebeenmuchconsultedovertime,andtheevidenceofStrand’sspeculativeselectionsareclearlymarkedbydayglowpagemarkers.However,thecontentsofThe Ragpicker’s Towerisnolongeravailableforconsultation,astheyarenowlockedinaverticaltower,fusedinablockandheldinsuspension.ThoughexudingaparticularpulpodourThe Ragpicker’s Towerteetersonuselessness,havingnowbecomeasealedarchiveandnomorethanamonumenttotheactofresearch.
KnokkeHeist,2013
75 Indicative Images - Courtesy Clare Strand Archive
Exhibited:• KnokkeHeist,PixseaAward,InernationalPhotoFestival,Belgium,2013
Installationof75framedimages.
75 Indicative Images - Courtesy of the Clare Strand Archive,isaworkpartlydictatedbythenumberofframesavailable,toherfor,anygivenexhibition.ForthisparticularinstallationStrandhasselected75IndicativeImagesfromherarchive,thoughwhattheseimagesareindicativeofisquestionable?ThosewithpriorknowledgeofStrand’sworkmightbeabletomakeviableconnections.
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