The season turns, and it’s time to re-emerge again in a more public frame for practice and research. It has been two years to the week since the last blog post, in which I declared a ‘going-to-ground’ period on arrival in Lacock, Wiltshire. The characteristics of such a long withdrawal are far from being blank, though they are a deliberate stance against working modes characterised by visible productivity. What you can do with invisible time and space is enter whole new worlds, as I experienced this week at Mat Collishaw’s Thresholds exhibition at Lacock Abbey.
More on the virtual experience in a moment, but by way of what I’ve been up to in the last two years, 2015/16 initially saw an enforced break on work patterns, firstly in the aftermath of moving and secondly in a family member’s ill health. I spent a lot of time digging, literally turning over soil and dragging out stubborn roses – it felt like a spiritual exercise in identifying and living with ground zero for a while. I came circling back to what it was I wanted to grow in my PhD, while finding footing at the local campus for Bath Spa University in Corsham Court. 2016/2017 then was a solid twelve months’ writing my doctoral thesis, part-time. I worked out the number of words per week that I needed to average, as well as the number of pages I could read in a day. I ploughed. Finally on the 4th August this year, I submitted over 80,000 words to the University of Gloucestershire, and look forward to a viva there next month.
It was absorption, with great intensity. Absorption in a world much like that recreated by Collishaw: the world of original photographic encounter. In his case, he has built a ‘room’ to mirror the setting of one of Talbot’s early photographic exhibitions (in Birmingham, 1839). You are given a headset and backpack, are guided blind into the blank white space, and then experience its sights, sounds and textures through the room’s virtual recreation, complete with wooden display cabinets, mice on the floor, street sounds from outside. I loved this world, and I loved the tangibility of its interpretation – it felt like, in microcosm, a material confirmation of so many academics’ verbal interest in photography. But its absorption was also lacking in intensity, limited by clunkiness, six minutes’ viewing time, and regulated space. It was interesting to experience the incompatibility of presences: my own was not ‘visible’ in the virtual space (others were ghosts, and staff were occasional disembodied voices at your side), yet I did enter a ‘thereness’, physically. Ultimately I found it a gift to visual imagination, and at my own threshold of new forays into word and image, it marks the moment with new, dynamic, possibilities.