|Research Code Key|
|[E] Explanation||[O] Opinion||[W] Website||[R] Further Research||[Q] Quotation||[U] Useful||[!] Critical|
|[X] Exhibition||[T] Timeline||[I] Important||[>] Indent
||[P] Photograph||[B] Book To Read|
Gone Astray Details (2002/3)
[U] Gone Astray is a series in two groups, formed of Gone Astray – Portraits and Gone Astray – Details. Both series were the result of a year-long residency for The London University Of The Arts.
[U] The work proposes a series of twinned (and conflicting) themes – the urban and the rural and the real and the artificial.
[U] Each image is styled and staged to assume a documentary context and uses the diagrammatical language of a solitary hand as guide.
[Q] “In the Details, as we contemplate the signs of unseen subterranean forces in the city, there is, again, a consciously hamstaginess, the shallow flash-lit revelations of Weegee and Brassai, forced to comply with the more whimsical priorities of an urban nature trail. Here and elsewhere, there is a sense that Strand is always smiling behind the camera, the sober formal or narratives dialogue between image and audience are forever being thrown into confusion.”
David Chandler, 2009
Gone Astray Portraits (2002/3)
[U] Gone Astray Portraits borrows from the 19th century street portrait convention of using painted murals as backgrounds to photograph city dwellers.
[U] Each sitter is carefully styled and propped to assume an urban generic type, on close examination each subject shows signs of wear, from ripped tights to bandaged wrists.
[U] The title of the series is taken from a Charles Dickens text, Gone Astray 1853 which is an account of a young child lost in the City of London.
[U] A story filled of references to anxiety and vulnerability and to people leading double lives.
[U] Gone Astray Portraits is housed in the Museum Folkwang Collection.