Galerie D’Este is pleased to present The light that was never was, featuring the works of artist and photographer Fiona Annis.
In her practice, Fiona investigates light and time by means of antiquated photographic processes. This exhibition emphasizes the wet-plate collodion technique, which is characterized by hand-processed photographic plates coated with chemistry that the artist mixes according to 19th century recipes.
Fiona’s approach focuses on the materiality of the media, combined with a deep interest in provoking unanticipated outcomes. This leads her to create work in new and unexpected ways, including a series of camera-less images that render visible attributes that are particular to hand-processing. Gestures – often as subtle as a simple hesitation – are recorded as a material imprint of light and time onto the sensitive surface of photographic plates.
In this exhibition, vast horizon lines conjure the notion of landscape, and recall places seen as though in a dream. In her ongoing research on how the past inhabits the present, Fiona draws inspiration from fiction, philosophy and poetry. Many titles of works in the exhibition are citations from books, including: Fragments of Sappho by Anne Carson, The Underpainter by Jane Urquhart, The Future Birth of the Affective Fact by Brian Massumi, A Thousand Plateaus by Gilles Deleuze and Félix Guattari, and Survivance des lucioles by Georges Didi-Huberman.
Born in Glasgow, Scotland Fiona Annis lives and works in Montréal, Canada. Her work is featured in the permanent collections of the Museum of Civilization in Quebec City, the Musée national des beaux-arts du Québec, the public art collection of the city of Ottawa, and the Penumbra Foundation in New York City. Fiona is currently the recipient of a research-creation fellowship from the Brucebo Foundation (Sweden) to undertake a new project with the Museum of Astronomical Instruments in Naples, Italy. She continues an ongoing collaboration with The Society of Affective Archives, with projects that include a large-scale public art commission on the Mount Royal Park in the City of Montreal. Fiona has exhibited nationally and internationally at museums, galleries, and artist-run centers, and holds a master’s degree from the Glasgow School of Art and an interdisciplinary fine arts doctoral degree from Concordia University in Montréal.
Acknowledgements as expressed by the artist: My thanks to Galerie D’Este for the opportunity to exhibit this work. My gratitude to Harvey Lev for his encouragement, Martin Schop for the custom framing, and the community of artists at the Post Image cluster of the Milieux Institute.