Extracts from:
The Perfect Distance: Ryan L. Moule's Latent Frequencies, by Richard Page.
"The prehistoric ocean is a space of disappearance and forgetting. These houses topple, at the threshold of history, into the sea; this moment of liminality playing witness to it's own oblivion, as the present slides into the past… The buildings, abandoned to erosion, are familiar structures that now uncannily stand as monuments to the very fragility of permanence... Moule presents 'unfixed' prints - a relic of chemical photography. The latent image continues to fade as it is exposed to light over the duration of its existence, thus it is the very act of looking that effaces the image, leaving no trace. As light erases the image, it dematerialises the photographic object too, posing the impossibility of immortalisation"
The Perfect Distance: Ryan L. Moule's Latent Frequencies, by Richard Page.
"The prehistoric ocean is a space of disappearance and forgetting. These houses topple, at the threshold of history, into the sea; this moment of liminality playing witness to it's own oblivion, as the present slides into the past… The buildings, abandoned to erosion, are familiar structures that now uncannily stand as monuments to the very fragility of permanence... Moule presents 'unfixed' prints - a relic of chemical photography. The latent image continues to fade as it is exposed to light over the duration of its existence, thus it is the very act of looking that effaces the image, leaving no trace. As light erases the image, it dematerialises the photographic object too, posing the impossibility of immortalisation"
Ryan L. Moule
Latent Frequencies
Ten chemically unfixed silver gelatin handprints
Essay by Richard Page
Designed | Produced by Book Works, London
Edition of Ten
Supported by Ffotogallery
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