The coastal landscape of Northumberland close to the Scottish border where I grew up, provides the impetus for my work. I use a variety of media, encompassing analogue photographic process and digital projection combined with expressionistic drawn and painted passages; often employed alongside shoreline detritus to create a collage like aesthetic. I am interested in researching concepts of ffreedom and liberation associated with the coastal landscape. My work attempts to transcribe those feelings of reverie experienced when in this space. Time spent in this environment has led me to explore themes relating to identity and lineage.
Recent projects have placed a greater emphasis on my interaction within the landscape. This has manifested itself in the ‘Terra Incognita’ project, which involves sheets of acetate being attached to the base of fishing boxes which are tethered to coastal sites where previous generations of my family were fishermen. As the tides rise and fall, rock and shingle begin to etch into the surface of the film; recording the intangible interaction between the sea and land. After a period of time the acetate is retrieved and ingrained with intaglio ink to show the abrasions.
Whilst in PSN I have been exploring ways in which the acetates can be presented. Offsetting them from a surface; so the marks are recast as shadows which move during the course of the day, pulled round by the sun just as the moon pulled the tide across the rocks to make them. I have been scanning sections of the acetate sheets from the Terra Incognita works and digitally projecting the results onto seawater and semi-transparent substrates. I have also begun to develop works which utilize the application of liquid photographic emulsion to transfer the imagery onto a range of substrates.
Graham Patterson is based in the North-East of England close to the Scottish Border. He studied Fine Art at Northumbria University and completed an MA in Photography from Sunderland University.
Extract from ‘The edge of Meeting’ – by Michael Thorp:
Each day the sea and the beach are new, even as the shoreline seems ‘the same’. Relationship is meeting in movement, sea, sky and land never stop meeting. What is lost is found and lost and found again…forever differently. This is the natural rhythm of making, in which form and content are inseparable. Sea shapes sand and both shape the pebble; an image discovers itself in the very act of being made; this image is the memory of its making.
Much of Graham Patterson’s work refers us to the coastline, which has helped make him A horizon line moves across the field of vision; it is the horizontal axis against which he stands. A clear delineation of space , in terms of horizontal and vertical will draw attention to the apparent weightlessness of what may occur within it. In an age of casual ‘deconstruction’, it is perhaps worth emphasising that the work of one so intensely and lovingly concerned with meaning and specificity of place is essentially constructive. As we remember so may we be joined.
Copyright Frances Thorp.