Last week during a cold February evening in the Borders of Scotland, the lights of a small photographic art gallery were turned on for the first time and a new exhibition was unveiled. The walls were devoid of landscapes, portraits and the traditional visual art you’d come to expect with photographers. Instead a large, garish print hung on the far wall, unmistakably red. A small sign to the left gave it the name ‘Tacky Red Cameras.’
We’ve got used to seeing camera collections in many different shapes and forms, especially ones with high price tags on eBay. What makes this collection different from all those is the overwhelming abundance of the colour red. Upon further inspection, The Becher-esque style grid is filled with 81 (9×9) individually coloured red cameras.
Tacky Red Cameras is a five year long study into mass production practises of the 20th century and how we have continued to consume in the present and beyond. A seemingly unobvious collection of red cameras all of which are still in their purchased, second hand state take place in three forms; a sculpture, a photographic print and a 3D printed object. The past, present and future.
The large print fills the white wall it is homed on and is big enough for the viewer to get up close and personal to inspect the different models on display. The actual cameras in sculpture form are presented beautifully encased in clear tubes close to the print.
The trifecta is completed with a much smaller exhibit, also unashamedly red. Artist Sam Cornwell collaborated with French artist Quentin Orhant to print a red camera. Yes, print. Continue reading
Phogotraphy 