Julie Davies

A Study of the Insignificant

Invitation

Press release / Catalogue text

 

Press release
Davies works are produced in response to her surrounds. While playing with "the potential for limitless variation in images produced using simple repeated processes harnessing chance or random effects" , her oeuvre often reflects the Duchampian notion that Art is Life and Life is Art.

The works in this exhibition are but one example; for two years she has photographically documented the somewhat ephemeral nature of death, of birds found in the vicinity of her home - perhaps in mid-flight - somewhere between the front door, the car and the exhibition space she co-founded and known amongst members as 'the Lab'.   The result is an exquisite and enigmatic series of digital prints.

Using "highly self-conscious adaptations of still life conventions" , Davies reworked her images to produce a series that exemplifies rhopography , where the 'insignificant' is the focus.   This in opposition to megalography , which depicts greatness, uniqueness, or the remains of excess.  

But its the ultimate contradiction, where the insignificant suddenly becomes breathtakingly significant...

Often her work is collaborative.   As others became aware of her project, a neighbour left a dead bird on her letterbox, friends emailed images, another reported a dead swan... The former was included, the latter not, due to proximity.

Davies' exceptional and highly seductive works are being exhibited at Ocular Lab Inc. between 12-20 February, highlighting the paradox between the 'insignificant' and the incredulous beauty to be found in life's frozen moments.

Eichler, Dominic, Catalogue essay for Davies exhibition Recasting , Kunstlerhaus Bethanien, Berlin, 1995

Bryson, Norman, "Looking at the Overlooked", Reaktion Books, London, 1990, p.11