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Lucy WIlliams is a practising photographic and media collage artist, South West artist and co-founder / curator with Fitzrovia Noir (FN) in London – an arts Community Interest Company that works to show artworks out of the gallery and into unconventional show spaces – often in buildings and locations in transition, due to re-development or demolition.
To some extent her work for Fitzrovia Noir has determined the content of her collages which combine analogue photos, printed photographic forms, found image and moving image forms, to show places, people and times where the ‘historicity’ of the original images is questioned, re-purposed and twisted into new meaning. She says: 'This creation of new images involves an almost literal ‘juggling’ of many source images, including re-photographing and re-composing and ‘cutting n pasting’ the old-fashioned way!'
Another of her interests is in helping retain the basic chemical photographic process through making number of black & white photographs with pinhole ‘cameras’ and she has wanted to extend this work through making a pinhole ‘moving’ image that would replicate the pinhole’s visual effect and texture but in colour and in movement.
Lucy Williams recent project for the CMIR/RWA Bursary has offered her an opportunity to merge two extremes of the image-making continuum : she has taken technical elements from the DIY ‘camera-less’ pinhole aperture and also the technical sophistication of the RED One Camera (now used as standard for major Hollywood productions). Thus the work experiments with a pinhole ‘lens’, attached to a highly sophisticated 4K Digital cinematography camera (of which UWE has 5) to create a filmed journey of the composition in space of a ‘nature morte/still life scene, with it’s making and emerging form captured from multiple moving viewpoints and angles.
Lucy now manages The Photographic Image page on the CMIR website.
To some extent her work for Fitzrovia Noir has determined the content of her collages which combine analogue photos, printed photographic forms, found image and moving image forms, to show places, people and times where the ‘historicity’ of the original images is questioned, re-purposed and twisted into new meaning. She says: 'This creation of new images involves an almost literal ‘juggling’ of many source images, including re-photographing and re-composing and ‘cutting n pasting’ the old-fashioned way!'
Another of her interests is in helping retain the basic chemical photographic process through making number of black & white photographs with pinhole ‘cameras’ and she has wanted to extend this work through making a pinhole ‘moving’ image that would replicate the pinhole’s visual effect and texture but in colour and in movement.
Lucy Williams recent project for the CMIR/RWA Bursary has offered her an opportunity to merge two extremes of the image-making continuum : she has taken technical elements from the DIY ‘camera-less’ pinhole aperture and also the technical sophistication of the RED One Camera (now used as standard for major Hollywood productions). Thus the work experiments with a pinhole ‘lens’, attached to a highly sophisticated 4K Digital cinematography camera (of which UWE has 5) to create a filmed journey of the composition in space of a ‘nature morte/still life scene, with it’s making and emerging form captured from multiple moving viewpoints and angles.
Lucy now manages The Photographic Image page on the CMIR website.