QUEBEC

QUEBEC

Fall on the Turn 1 (2002) colour photo handprinted by Annabel Howland, 87cm x 71cm.

Fall on the Turn 2 (2002) colour photo handprinted by Annabel Howland, 71cm x 87cm.

Charcoal Forest 1 (2002) Handprinted analogue colour photo, 100cm x 80cm.

Charcoal Forest 2 (2002) Handprinted analogue colour photo, 100cm x 80cm.

Snapcut (2003), Colour photo, 100cm x 80cm.

AM/PM (2002) Lamda photos, each 100cm x 112cm.

Threshold Dunes (2003) Colour photo, 75cm x 73cm.

I made the work shown in this section while on a residency at Centre Vu in Quebec City, Canada, where I had access to darkrooms and printed in colour for the first time. All the images were shot on 6x7 format (Mamiya 7II).

During the residency, I also had a solo exhibition  at Centre Vu, Terre Tranchée/Cut Land, which is featured in the sections "Selected Exhibtions" and "Cloudgrids".

 

EXPANDING CUTS

EXPANDING CUTS

Expanding Cuts (2003) Rotterdam Photo Biennale, Tent. Laminated Lamda photo, cut out, pinned to wall, 10 parts. Total area: 500cm x 260cm.

Expanding Cuts Detail

Expanding Cuts Detail

EXPANDING CUTS

This photograph was taken when flying across the USA. It shows a large area of land where a network of huge, snaking rivers and tendrils of forest intersect with the ruthless geometry of gridded agricultural fields.

PERSPECTIVES

PERSPECTIVES

Perspectives (2004) Wallpiece in the central hall at St Lucas Andreas Hospital, Amsterdam.
500cm x 540cm. Cibaclear photo in Plexiglass panels.

 

 

PERSPECTIVES

This artwork was unveiled by Job Cohen, Mayor of Amsterdam, on Friday 19 November, 2004, on the occasion of the official opening of the St Lucas Andreas Hospital (SLAZ) in Amsterdam.

The underlying structure for this work is provided by a map of the area in Amsterdam West around the St Lucas Andreas Hospital. Howland carefully erased the background from the map, while leaving all the lines and markings intact. Into this she digitally inserted cut-out aerial photographs of the same area to form a delicate and complex montage of cartographic and photographic details. Running down the centre of the work is the map’s representation of the A10 Ring motorway, which divides early 20th-century, pre-war expansions of the city inside the Ring from postwar developments outside the Ring.

Although the photographic elements correlate with their locations in the map, the viewpoints they present allow viewers to read the images in different ways. From a distance you can identify the structural organisation of this part of the city, while closer examination allows you to explore unusual angles of recognisable places or become absorbed by intricate details.

SLAZ was formed by the merger of St Lucas Hospital, at this location, and Andreas Hospital, which was demolished soon after the photographs for this work were made. Perspectives was commissioned by SLAZ to mark this moment in the hospitals’ histories.

WEST

WEST

West (2002-2004) 45m x 1m Cibaclear photos in glass panels. Photo: G.J. van Rooij

WEST

WEST is a glass balustrade that stretches around three sides of the central hall of the St Lucas Andreas Hospital (SLAZ) in Amsterdam. It forms a screen between the staff restaurant on the first floor and the public space of the hall below.

The photographic elements are extracted from photographs of the area around the hospital in Amsterdam West taken from a helicopter and on the ground. The coloured planes are derived from a topographical map of the area. In our passage along the screen from Rembrandt Park on the left and Erasmus Park and a sports field on the right, we move through vertical shots and bird’s-eye views of this part of the west of Amsterdam in 2002. Passing along different planes of colour we see cut-out pieces of Sloterplas (lake), railway tracks, Amsterdam Docks in the distance, SLAZ under construction and major building work near the A10 motorway in Bos and Lommer.

West was commissioned as part of the transformation the hospital underwent when the St Lucas Hospital at this location merged with Andreas Hospital, now demolished.
The balustrade is 45 m long and 0.95 m high and was commissioned by Amsterdam Fonds voor de Kunst.

TREBESICE TRACKS

TREBESICE TRACKS

Trebesice Tracks (2004) Chateau Trebesice, Czech Republic. Inkjet on vinyl, 441cm x 310cm.

TREBESICE TRACKS

Trebesice Tracks (2004) was commissioned by Alberto di Stefano for what is now called Suite B - “The Corner Room” at Chateau Trebesice, near the Czech town of Kutna Hora.

To make Trebesice Tracks I chartered a small plane and took aerial photos of the area around Trebesice. The image was then enlarged, printed onto a single piece of thick vinyl, cut out and pinned to the wall. The opening of Trebesice Tracks was accompanied by a solo show Stay at Futura, Prague.

See also: Kersvers at Club 11

CUT AERIALS

CUT AERIALS

 

Cut Aerial 2 (USA) (2001) Cut-out, laminated Lamda print. Pinned to wall. 125cm x 200cm

Cut Aerial 3 (USA) (2001) Cut-out, laminated Lamda print. Pinned to wall. 125cm x 200cm

Cut Aerial 1 (USA) (2001) Cut-out, laminated Lamda print. Pinned to wall. 200cm x 125cm

Cut Aerial 3 (detail)

Cut Aerial 4 (USA) (2001) Cut-out, laminated Lamda print. Pinned to wall. 125cm x 200cm

CUT AERIALS

In these works comprising cut-out aerial photographs of the USA, I cut the land away with a knife. What remains is a network of lines and marks left by irrigation systems, clouds, roads, crop rotation and cloud shadows.

LANDSCAPE TRAUMA IN THE AGE OF SCOPOPHILIA

LANDSCAPE TRAUMA IN THE AGE OF SCOPOPHILIA

Cut Aerial 1, 2, 3 (USA) (2001) Landscape Trauma in the Age of Scopophilia. Autograph ABP, Café Gallery, London

Cut Aerial 1 (USA) (2001) Cut-out, laminated Lamda print. Pinned to wall. 200cm x 125cm

Cut Aerial 2 (USA) (2001) Cut-out, laminated Lamda print. Pinned to wall. 125cm x 200cm

Cut Aerial 3 (USA) (2001) Cut-out, laminated Lamda print. Pinned to wall. 125cm x 200cm

Cut Aerial 3 (detail)

LANDSCAPE TRAUMA IN THE AGE OF SCOPOPHILIA

Cafe Gallery, London / Leeds Met. University Gallery, Leeds, England (2001)

Does the term ‘landscape’ merely conjure up idyllic notions of the countryside? Or is the seemingly neverending industrial malaise in the countryside symptomatic of a broader crisis of identity that has begun to erode the distinctions between the metropolitan and the rural tradition?
Through processes of construction, destruction and reconfiguration, Landscape Trauma in the Age of Scopophilia provokes a re-examination of our relationship to landscape - be it geographical, cultural or political - by examining the interplay between these different dimensions. Rejuvenating and expanding the subject of landscape, it presents spectacular illusions of scale and space, combining the macro and the micro, the scientific and the psychic.

CURATOR: Richard Hylton.
ARTISTS: Annabel Howland, Henna Nadeem, Ingrid Pollard, Camila Sposati, The Search for Terrestrial Intelligence (S.T.I. Consortium).
CATALOGUE: ed. Richard Hylton with essay by Jorella Andrews.
Published by Autograph abp. Distributed by Cornerhouse.

CLOUDGRIDS

CLOUDGRIDS

Cloudgrids 1 (2001) (galerie Ron Mandos, Rotterdam) Cut-out b/w silkscreen prints on paper. Individual images approx. 90cm x 60cm. Total area approx: 15m x 3.5m.

Cloudgrids 1 (2001)

Cloudgrids 1 Detail (2001) Photo: Hans Wilschut

Cloudgrids 3 (2002) Cut-out b/w silkscreen prints on paper. Individual images approx. 90cm x 60cm. Total area approx: 15m x 3.5m.

Cloudgrids 3 (2002) detail

Cloudgrids 3 (2002) detail

CLOUDGRIDS

The aerial photographs used in Cloudgrids were taken over the USA in 1999 on a flight between New York and Los Angeles. The clouds and their shadows seemed to be plotted onto the grid of the Midwest.
The photographs were enlarged, divided into sections and then screen-printed in black on white paper. I then cut away the land from each image section, leaving behind the lines of human and geological marks in the land, the white clouds and their dark shadows.
Cloudgrids are organised into different constellations for each installation, each of which sets up new ‘narrative strands’ within the work and occupies space in a different way. Some have have also been sold as individually framed images.

See Mireille Lavoie’s essay on the installation Cloudgrids 3 in Quebec City for a more detailed reading.