Choreography of the Image by Charlotte Moth
Super proud of Charlotte Moth and of our non-profit organisation Chooseone.org, who has supported her project…
BP Spotlight : Charlotte Moth : Choreography of the Image Tate Britain : Display Open daily from 4 May, 2015- May 2016 Free
Artist Charlotte Moth (born 1978) has used a photograph taken in 1937 by Barbara Hepworth of sculpture, One Form (Single Form), as a point of departure for this Archive display which looks at the way images of artworks are choreographed in a range of contextual environments.
Moth’s installation, Inserts 2015, consists of ten vitrine structures. They display photographs and ephemera dating from the 1930s to 1960s, drawn from the Tate Archive as ‘thought constellations.’ Each relates to a different element of the staging and positioning of works of art by Hepworth. Images of artworks by Ben Nicholson, Simon Nicholson, Naum Gabo, Alexander Calder and others also feature. Shown alongside is a new film by Moth, which explores the expanded field of vision that the archive images appear to connote.
‘Choreography of the image’ is an installation in the Archive Room of Tate Britain, May 2015 – May 2016. During research in the archive of T.B I discovered a series of documentary images of the sculptures of Barbara Hepworth. These images reveal sculptures levitating on a sky of clouds, or of shadows of plants creeping theatrically into the edge of the frame. Hepworth’s use and experimentation with photography explores the expanded field of vision of a sculptural practice, challenging previous readings of Hepworth’s work. The installation that I will present uses these photographs as a departure point. The photographic documentation of Hepworth’s work will be displayed through the making of 10 sculptural structures that presents the material in ’thought constellations’, to be installed within the permanent wall mounted display cases of the archive room.
These structures simultaneously function as story board’s for the making of a 16mm film that has emerged in response to such findings and has lead me to film in locations such as Palais de dance in St Ives, the landscape of the Cornish coast line and my own domestic setting. The film therefore is composed as a series of thinking sketches, discoveries and experiments surrounding notions of staging, choreography, and the camera as an extension of the eye, that is intrinsically connected to an experience of the sculptural object.
This display has been curated by Inga Fraser. Tate Britain, Display
With thanks to Mr Nelson Woo ; the Pavillon Neuflize OBC, Palais de Tokyo ; Goldsmiths University of London and our non profit association Chooseone.org.
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