sara pickering: aim & fire

NewImage.pnglocus+, in part­ner­ship with the north east pho­tog­ra­phy net­work (nepn) and durham art gallery are proud to present aim & fire, the first solo exhi­bi­tion of pho­tographs by sarah pick­er­ing in the north east. the exhi­bi­tion includes work from the explo­sion, inci­dent and fire scene series as well as celes­tial objects, a new com­mis­sion by locus+, in part­ner­ship with nepn.




’ ”aim”, “shoot” and “fire”; the lan­guage of the gun is shared with that of pho­tog­ra­phy and film. it’s not sur­pris­ing that the cam­era and gun evolved togeth­er. in the 1880s cam­eras with sequen­tial frames for time and motion stud­ies were made from mod­i­fied guns with a rotat­ing disc of light sen­si­tive film record­ing in the place of the bul­let that would have frozen motion.’


sarah pick­er­ing

Celes­tial Objects, by Sarah Pick­er­ing, has been made by pho­tograph­ing a revolver fired in total dark­ness. Each pho­to­graph­ic expo­sure cap­tures the entire­ty of a gun­shot from start to fin­ish. Con­trary to the high-speed frac­tion of sus­pend­ed action used in sci­en­tif­ic imagery by Harold Edger­ton known for his micro sec­ond pho­tographs of nuclear explo­sions and bul­lets in mid flight, these images are a sum­ma­tion of the dura­tional ener­gy and action that the cam­era witnessed.

Sit­ting on the line between objec­tive fact and imag­ined real­i­ty, the frag­ments of muz­zle flash ref­er­ence images of deep space, epic cin­e­ma and the skies of roman­tic painters such as John Mar­tin. The slip­page between cat­a­logu­ing obser­va­tion and sub­jec­tive asso­ci­a­tion is the ter­ri­to­ry that fas­ci­nates Pick­er­ing who pro­pos­es that instead of fix­ing a cer­tain­ty, the rep­re­sen­ta­tions we make of the world ampli­fy our doubts about the expe­ri­ences we have of reality.

Sarah Pick­er­ing was born in Durham and lives and works in Lon­don. Pick­er­ing has exhib­it­ed inter­na­tion­al­ly includ­ing Tate Britain and the Vic­to­ria and Albert Muse­um, Lon­don, Foto­Mu­se­um, Antwerp and the Muse­um of Con­tem­po­rary Pho­tog­ra­phy, Chicago.

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