Yesterday I met Kate 513284 at Lacock Abbey, for a catch up and to see Thomas Kellner’s exhibition called Fractured Architecture, Cubist Photographs, which is currently showing in the upstairs gallery. There is a short video here explaining his technique, but from a practical point of view, he re-images of well-known buildings by taking a series of images of the parts and putting them together. He does this by glueing his analogue negatives together to form a physical sequence, which he then make prints from. The whole process is initially like looking at the buildings through the reflection of a series of windows, but then you start to look closer and discover that the negatives are actually sequential, and so Kellner knew exactly the effect he wanted before he took a single shot.
At first glance, the images seem to fit into the genre of Cubist Decontstructivism, but Kellner has coined the phrase Radical Constructivism to describe his work, and he uses an artistic method he calls “visual analytical synthesis”. His aim is to take well-known viewpoints and reproduce them in a non-linear way – the way the eye flits around a view – rather than the basic two-dimensional view we are used to.
FL: You mention on your website that your work is all about playing with your viewers’ perceptions of what is real, landmarks that they consider to be constant and unchanging. Why is it that you think this is such an important message to spread?
“Kellner’s contact sheets give bodily form to our scattered, animated and animating act of viewing. In doing so, they reclaim the individual’s central position to the formation of image and building alike.” Pappas, Allison, MFA Houston in: Houston, we’ve had a problem! (The Hippo Collective, 2014)
One has to admire the precision and forethought that Killner uses to produce his work. It is startling and one inevitably gets drawn into thinking about how he made it. He says that initially he began nwith the idea of using a single 36 frame roll of film for each image, but that this has expanded now and he often uses two. For my own part, the image I liked best was one where he did not use the constraint of the rectangular format, but something a little looser in contruction.
His work has echoes of that of Seung Hoon Park, David Hockney and Sarah Sense, both of whom I have reviewed before in Context & Narrative, but the techniques of deconstruction and reconstruction are all completely different. There’s plenty to think about in relation to my own work.