Deborah Baker speaks!

Ariel View of the woodland garden

The block with planting 

On the 22nd of October when Deborah Baker came to talk about her work & the progression towards her current practice alongside images of the garden which has inspired the series 'In Paradiso' which is currently on display at L A Noble Gallery.

Hearing the artist describe their experiences is always eye opening for me as I have a less formal relationship & discuss their work in the present tense with them most of the time & look forward rather than back. What was extraordinary was the way in which coupled with her words we could see the way in which her work has altered over a long period from black & white, to figurative to a more fractured aesthetic. Just like her woodland garden her work has been 'cultivated' over many years. She approaches each plant individually looking at texture & form then harmonises it with another - balancing the colour & light through many layers.

Light is the key to her work, using images taken at the same time day & same the time of year so that the tones & colours compliment each other appearing more natural as each image is layered & edited. Editing is the key to her work, with many images paired back afterwards to give the composition the perfect balance of positive & negative space. 

Prunusky - seeing the layers develop, the complexity becomes apparent
©Deborah Baker 

When I first saw Deborah's work this is what struck me. When learning to draw or paint the use of negative space is essential to show the importance relationships between objects to be as important as the objects when composing a still life for example. Working with shapes & forms coupled with light & shade so much can alter as a work progresses. Without these considerations an image can lack depth or visual interest. Cutting away is often as key to an image as adding something to it. Baker understands this. Her intricate photographs are more akin to lacework than collage, the gaps revealing the forms rather than the other way around. 

©Deborah Baker

Looking back at Baker's work prior to In Paradiso you can see how her use of figurative elements within space transition throughout her work towards her current practice. In the series  Ghosts Baker combines her own photography with snapshots of past & present generations of her family. In the example above she coloured the figures from a black & white photograph & added architecture & context. By paying careful attention to detail - colour, form, tonal range - without overtly making the image completely convincing as a straight photograph she creates an ethereal aesthetic. In doing so Baker literally breathes life into past generations, allowing them to interact with present ones. Plants, trees & architecture alongside these relatives provide the perfect metaphor for the cycle of growth,  renewal, decay & death. So began the connection with plants & the metamorphosis of them within her photography...

©Deborah Baker

The immediate landscape around Deborah provided great comfort & solace when her late brother was diagnosed with cancer in 2007. The two come together here in her photographs as the figures become more ghost-like as layered foliage entwines with the past, present & future. Baker's own family history narrates whilst seeping into the collective unconscious of her viewers own family memories...

In printmaking after running a plate through a press it is usual to print a 'ghost' by repeating to press the plate a second or third time. The ghost is a much fainter version of the image on the plate, this is also used to layer one print on top of another. Baker's 'ghost' may be more literal, but they also have a  connection to the physical reference of the original object - in her case a photograph - as well as ethereal notions of the afterlife.

Her garden was the perfect space to grieve & contemplate. Our need for a record of loved ones helps us to remember them & leave an imprint in the physical world as well as our inner thoughts. Baker's images do this. As In Paradiso developed as the garden grew she recorded the growth of her plants, shrubs & trees just as one would with children. As they grew they changed & in recording this transition the material available to 'layer' her imagery is limitless as seasons come & go & the maturity of the garden alters continuously.  

  

 Japanese Kanji for Ma (interval or space)

Negative space in Japanese culture is known as 'ma' the pause in between other structures is seen as being just as important. The hollow in a tree can be a space of spiritual contemplation, & as I have mentioned before in the book In Praise of Shadows the weight of such spaces can also accentuate the light & solid forms that surround us. The Kanji itself illustrates the aesthetic harmony of space beautifully. 

When planting a garden negative space is an optimum consideration as the seasons come & go some plants die back & others flourish or remain in altered forms. Pre-supposing where these spaces will be & what can fill or be revealed through these spaces can dramatically change ones experience & enjoyment of the garden. Baker constructs er images just as she does her own land, with care & forethought. 

Raouliexigu ©Deborah Baker

When I saw Raouliexigu for the first time my instant reaction was of a place I knew in my minds eye, a painting by Seurat called Study for A Sunday on La Grande Jatte. This pointillist masterpiece relies on the spaces in between the figures to accentuate the rigidity & placement of them. Each figure could as well be a tree & the grass the light that passes in between. Strangely, the fractured detail creates a more solid & almost heavy feel to the work as if the people within it are rooted to the spot never to move again, as if finding the perfect place in which they should always be. 

Study for A Sunday on La Grande Jatte, 1884

Georges Seurat (French, 1859–1891) Oil on canvas

Just so you can see the red border is part of the painting...

The painting bound in its frame alters the way in which we view it - despite the red edges of the image which heightens the intensity of the reds (warm tones) in the work against the green & purple (cool tones). Branches, leaves, shadows & flowers all perform the same spell upon the eye in a more subliminal way in Deborah Baker's work. By leaving the photographs 'frameless' (they are mounted on aluminium, with perspex face mounting) the eye s allowed to extend beyond the edge of the image thus integrating it into the environment on a more organic level. I am really enjoying watching audiences come into the gallery & instantly relaxing when they look at the work. Shoulders drop, expressions soften, the magic takes hold. You must see them for yourself to see if you agree with me.

In Paradiso by Deborah Baker is on at L A Noble Gallery till 6pm Saturday November 16 - don't miss it. More work will be displayed next Autumn Sept - November at The William Morris Gallery (Museum of the Year 2013) . It is a long time to wait. I am sure there will be new images by then to compare with the ones currently on display, so don't miss it! 

Some of the best things come in small packages...

My fascination with Japan extends far beyond the obvious. Ritual & cleanliness are important. Reading the Japan Pulse blog, which is the blog for Japan Times Online Big (only) in Japan? section I came across 'oshibori' which is the practice of cleaning ones hands & face before a meal with a scented towel. The ones made into birds are featured here, photographed by Daiji Hirata,whose photo of 'Shinjuku in a Glass' is fantastic!

For those of you who don't know I have many obsessions (healthy or not) & my love of 'things that fly' (birds, planes & helicopters especially) & cats are high on the list. Both such loves are shared by Japanese culture. So as you can imagine my favourite image from the Tokyo Story series by Emily Allchurch is 'Tokyo Story 4: Interior (after Hiroshige) 2011' which also includes many other fascinating Japanese things on my 'love it' list. Some of these details are hard to see online, much better full size close up if you get the chance to see them at Diemar/Noble Photography DO! Emily's image here has everything, including birds & an airplane! What more could I wish for....

Included in this image there is a fan, the one here is my own with it's case, a gift from Tokyo from the lovely Brittain Bright. I always put one in my bag from April 1st as the London underground starts to get warmer around this time (seems a long way off but it's not) & get a little smug when I see other less wise commuters stare at it longingly.

Many years ago now I learnt how to do the Yang Style Fan Form which is a rarity nowadays. This is an adjunct to Chinese culture, but the love of the fan & it's use as a weapon is common to both. It made my appreciation for the fan as an object grow, which with a flick of the wrist snaps open. By holding one edge between thumb & forefinger you can 'snap' it in a really satisfying way, try it! I had to learn it right handed (I am left handed) so it was very difficult but much more satisfying when I got the hang of it. I cannot find the exact version online (as there a many) but this comes closest to it. Origami paper on the floor also has a geisha upon it. There are many references to geisha here (as the Hiroshige has a geisha figure) giving a more subtle suggestion alluding to a geisha's presence. The kimono (more about those in a later post) & the sign announcing 'Private' indicates the geisha also.

Then there is inrō, beautiful accessories (often attached to ones obi) that contain anything small. The explanation here is perfect! My interest lies in the design & sheer beauty of it as an object. It is hard to find antique inrō, as much now is plastic & not nearly as nice. The British Museum has a lovely collection, the one pictured here is aptly from the Edo period. The full details & more stunning inrō are on the website. The interior itself is enticing yet open as the water beyond leads to the industrial horizon looming in the distance. This hints at the great times of change & upheaval ahead as the Edo period came to an end with the overthrowing of Tokugawa by the Meiji Restoration on 3 May 1868.

I could wax lyrical about this picture all day it is my favourite. On a personal note, the chopsticks also give me a twang of pleasure as I still have my very first pair given to me by my dad when I was 7 years old. The pride I took in using & mastering them was a big deal as a kid. I think this is how my passion for the art of Japanese food was instigated, as eating with knives & forks gets a little dull & the food can be so pretty. If the bird-shaped oshibori is just the beginning of the meal, what adventures the rest of the meal could be...

A message to Japan

I was devastated to hear the terrible news about the earthquake & tsunami Japan. I hope that the world steps up to help & that all the areas in the tsunami's path are cleared in time. There is very little I can say at this point as I stay glued to the tv, radio & internet to stay informed.

The BBC & Channel 4 coverage is ongoing and at present quite chaotic as they scramble to speak to whoever they can on the ground. The film of a massive whirlpool is being played on every channel, yet the plight of the boat caught up & being dragged into it doesn't seem to be covered. I suppose we have to assume the worst.

My condolences go out to all who are affected by this event in any way.

Collaborating with an Angel Part 7

So I'm sure you are wondering what happened to the portrait. Well when we looked at the results of the first shoot I did look fabulous and all but there were a few things that we wanted to change. So the dreaded 'R' word was uttered: RE-SHOOT!!!!
The bracelets were too Indian looking and my love of the Japanese aesthetic was not coming through strongly enough. So back to the drawing board, literally. My original design for the dress (drawn on the way home on the tube, so excuse the draftsmanship) minus the crazy collar (less 'Snow White' that way). Then Neeta found some amazing jewelery from a store in Bath called Alexandra May. It was very hard to part with it after the shoot. The shoot was much easier second time around as I knew what to expect. The make-up was done with an added midnight blue eyeshadow I brought, for the full Liz Taylor effect. I had the routine down pat much quicker for the picture, (it became a mantra) it went as follows: turn side on - breathe in - look at the hat - eyes to the camera - follow Neeta's suggestion. What was her suggestion you ask? Well it varied from 'sultry eyes' to 'sultry eyes, knowing smile' or 'knowing smile eyebrow raised'. She called me Liz through the whole shoot, to fully channel Ms Taylor. I think it worked. We ended up with a fantastic array of pictures and 30 photo's, polaroids and digital shots later it was a rap. I awaited the final result the following week to see the fruits of our labours. The 4 hours attached to the set was well worth it. The end of the day was emotional for all concerned as it was the last in the series of 17. There will be a book available from Nazraeli in the summer. I'll surely let you know when it is released. I must take this opportunity to thans everyone who was on the shoots for making me feel like a goddess all day.As you can see the resulting image is incredible. It is hard to see it as me! (The image is provided by Neeta Madahar and is her copyright.) Neeta, my biggest thanks go to you for making me beautiful and choosing me as one of your sitters, I will be eternally grateful.