REBECCA BOWRING | GENEVA, SWITZERLAND
Born in 1985, Rebecca Bowring lives and works in Geneva, Switzerland. Her work has been exhibited at the Musée de l’Elysée in Lausanne (CH), at the Museum of Art in Pully (CH) or at the Centre de la Photographie in Geneva (CH). Her projects question photography through it’s technique and technology and the physical specificities that it entails and engenders: the relationship to light, to time, the principle of capturing and that of revelation, framing, reproducing, producing, making visible, as well as a series of questions concerning the fate and the materiality of the image in the era of its digital existence.
What is your work about?
A prop for memory, transmission and sometimes even an object of cult, what will become of the images produced yesterday or today? These traces of a generation which is no longer there to tell its own tale: what will happen to these fleeting moments that record different stages in the cycle of a lifetime?
Having acquired negatives from the 50’s and 60’s from the flee market, I have printed them on leaves by using sunlight only. No chemical product or digital influence has been used in achieving this result. My aim is to demonstrate the transient constitution of a photographic print and the febrile nature of photography.
The project brings together the interest I have in amateur photography and its relationship with time. Through the fragile leaves and their images of a previous generation I seek to delineate the paradoxical aspects of the ephemeral and yet long-lasting nature of the medium of photography. The leaves in their frames are destined to slowly disappear and eventually decompose with time.
How does photographing on film (or using your material photographic process of predilection) inform your artistic practice?
My work deals with photography as a technique and it’s technology, and the specific practicalities involved: the relationship with light and time, the principle of capturing and exposing, producing and reproducing, and rendering visible. I deal with photography as an amateur pastime and social function: with family albums full of forgotten names and unrecognizable faces, with the creation of a personal and collective memory through social media and with the archiving of such pictures.
In this specific project my questions regarding the past and future of the production of images and the disappearance of the object itself had all it’s meaning through the use of film. From the negatives found in flee markets to the leaf itself; the project had no other way of existing than on film.