More or Less Obvious Forms
Photograph
2012 (photographed)
2012 (photographed)
| Artist/Maker | |
| Place of origin |
Darren Harvey-Regan graduated with an MA in Photography from the Royal College of Art, London in 2010. His work blurs the boundaries between photography and sculpture and deals with the nature of photographic representation and its relationship to the material world. It challenges the viewer to scrutinise the divide between an object and its depiction. In selecting and abstracting things from their place in the world, Harvey-Regan removes them from their contexts to perform specifically for the camera. Technically he works primarily with traditional film and printing methods, seeing the restrictions associated with these as both an inspiration and a gently humorous frustration. In this way, he is forced to engage with and physically manipulate objects, rather than have limitless scope to alter and adapt them digitally. As a result, the viewer is confronted with images that are like optical puzzles, confounding the visual codes of both analogue and digital photography.
Object details
| Categories | |
| Object type | |
| Title | More or Less Obvious Forms (assigned by artist) |
| Materials and techniques | C-type print |
| Brief description | Photograph by Darren Harvey-Regan entitled 'More or Less Obvious Forms,' C-type print, 2012 |
| Physical description | A framed C-type print depicting a chequered paster cast vase resting on the edge of a white table. Thephotograph is frames in a matt grey finish. |
| Dimensions |
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| Production type | Limited edition |
| Gallery label |
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| Credit line | Purchase funded by the Photographs Acquisition Group |
| Summary | Darren Harvey-Regan graduated with an MA in Photography from the Royal College of Art, London in 2010. His work blurs the boundaries between photography and sculpture and deals with the nature of photographic representation and its relationship to the material world. It challenges the viewer to scrutinise the divide between an object and its depiction. In selecting and abstracting things from their place in the world, Harvey-Regan removes them from their contexts to perform specifically for the camera. Technically he works primarily with traditional film and printing methods, seeing the restrictions associated with these as both an inspiration and a gently humorous frustration. In this way, he is forced to engage with and physically manipulate objects, rather than have limitless scope to alter and adapt them digitally. As a result, the viewer is confronted with images that are like optical puzzles, confounding the visual codes of both analogue and digital photography. |
| Collection | |
| Accession number | E.260-2013 |
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| Record created | May 10, 2013 |
| Record URL |
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