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•PROJECTS —
2018 – 2013

  1. LOOKING FOR YOU BUT YOU’RE NOWHERE TO BE FOUND

  2. DREAMS

  3. AUTOMATONS IN MARIENBAD

  4. SAME IS NOT THE SAME

  5. TIME REMAPPED

  6. VACANCY

  7. THE FALL


•PHOTOGRAPHS

•CURATED —
2018 – 2013

  1. TRUTH||LIES

  2. NEW WEAPONS

  3. G PLAN: MADE IN MALTA

  4. YOU ARE WHAT YOU EAT


 
INFO

  • I cannot reconcile myself with the idea of time. I cannot control it, slow it down or speed it up – and yet, I try. My interest in duration and consciousness stems from a failure to regain lost and unredeemable time and my process of interacting with images takes on diverse forms in an attempt to trap the uncontainable. The function of my work should not be to attempt to represent my preoccupations but to better produce the feeling that there is something unpresentable. This is reflected in various works, not only with the insatiable desire to capture and contain time, but also by creating impossible scenes, re-appropriating cinema or presenting found objects as readymades divested of their original intention to create ambiguity and self-referential failures to communicate.


Mark

VACANCY, 2001, 2017








Vacancy (2001, 2017)
Polaroid prints archive
Approximately 200 pieces
11 x 8.5 cm each
Installation dimensions variable

Vacancy is an archive of polaroid instant images taken around the early 00s. The subject of this archive is hotel, hostel and holiday apartment interiors of various star ratings. These polaroids were shot as test frames, with the sole purpose of confirming the right elements of composition, lighting etc. They also served the purpose of identifying the properties at a later stage when the film was developed. Revisiting these photographs less than 20 years later, the emptiness evoked in these images is collectively haunting. Hotel rooms, restaurants, lobbies and public areas void of any activity. A complete refusal and denial of the public for whom these spaces were created. They are a collective vision of fleeting occupancy, temporality and eventual expiry to make way for bigger and better. The images also represent the shift from a commercial practice to a redefinition of the photograph as an art object.