Gina Wall works in place, and through the memories of place, to explore the relation between land, photography and text. Sceptical of ocularcentrism, Wall practices photography as a kind of writing, engaging with the landscape as living archive. She explores the space between practice-as-writing, nature writing and archaeology to articulate place as event encounter. Recent work has focused on the development of a methodological approach that Wall describes as archaeospectrography which engages specifically with the hauntology of the archaeologies of the present and the practice of photography within the quantum entanglements of space and time. This methodology seeks to develop a photographic praxis in the broadest sense: to research locations and conduct fieldwork; and to interact with these places through a diffractive photographic practice of temporal re-cutting. Working in this way, Wall aims to disrupt anthropocentric paradigms of human-world relations, challenging the privileging of the ocular and visionary to bring to light a space in which practice-as-writing resists individual vision to inscribe the image as a diffracted, distributed, polytemporal array. For Practicing Landscape: Land, Histories and Transformation, Wall presents a combination of previousand new work which has as its connective tissue the question of landscape and time, expressed by her interest in synthetic and archaeological landscapes of the 20thcentury which hang on in the present as affective places. The complexity of time works its way through her practice in the exploration of the polytemporal, the spectral and, more recently, following Karen Barad, the notion of thick or queer time.
TOP IMAGE: Gina Wall, Bishopmill Quarry, 2011, Selenium toned silver gelatine print (detail)