Artwork

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Awakenings

Liminal World is an ongoing project where Glover searches for locations round the world which can convey the threshold between inner and outer worlds, time and impermanency. Glover’s small wooden box, with a pinhole at one end and roll film at the other, provides the means for her playful and yet meditative relationship to the world. These works have been selected by Shirley Read to bring together specific moments of liminality so that we may ask ourselves not only about the nature of photographic representation and the role of the photographer in this but about our relationship to time and our need to step out of the rush of contemporary life in order to understand it.

Limited edition prints are available from the Hoopers Gallery.

Playgrounds of War tells a story of the remaindered aesthetics of past wars, avoided wars and possible wars. These photographs deal with the monumental and emotional detritus of abandoned military bases, drawing upon Gina's own childhood memories and her continuing personal sense of vulnerability in the face of military force. In joining her investigation of decaying military sites - secret airfields, coastal forts, emplacements, and nuclear missile sites - we uncover the traces of their past destructive power and also, more positively, how such places eventually succumb to the corrosive but rejuvenating power of time and nature. To order prints, please contact Gina Glover.

Over a series of visits to the Baltic states of Lithuania , Poland, Estonia and Latvia , Gina Glover, accompanied by Amandine Alessandra , devised a photographic project to capture her sense of the European Union's new frontier. The result is a project entitled 'Objects of Colour: Photographs from the Baltic Coast' , which, as it developed, became a collaboration between Gina and writer/poet Kay Syrad . This will result in a limited edition publication featuring Gina's photographs and Kay's poems. Some of these photographs are shown in this and the next three galleries. Unbeknownst to Gina, as she was taking pictures for this project, Amandine was taking pictures for a very different purpose - documenting Gina. Her project - entitled 'Follow' - is a series of images of a photographer at work, capturing a photographer's singular purposefulness against a shifting visual scene - successfully capturing that unusual sense of time when an artist concentrates her attention on the task in hand in an unfamiliar place.

June 2007. Estonia - From Tallin to Hiiummaa Island.

A land with no distant places.

February 2007. Poland’s Western Pomerania .

Where the wind breaks the silence of the ice.

October 2006. Lithuania’s Lithuania’s Curonian Spit .

A 100 kilometre long stretch of furrowed dunes and scented forests.

First shown at Trace Gallery, Weymouth, March 2002, Outside Time is a series of pinhole photographs with accompanying text written by friends and family present when the pictures were taken. They were asked either to respond to the particular image or their time spent in the location. There is an artists' book from this series that can be purchased from the gallery: www.traceisnotaplace.com

Prestatyn North Wales

North Miami Beach, USA 2006

These 'through the porthole' visual effects of flying can often be spectacular but our increasingly crowded human presence above the clouds raises questions about the environmental sustainability of life beneath them.

These Scottish landscapes deal with the narratives of land and wind and play with notions of time outside the metered existence of the everyday.

‘Dedale’ is a series of photographs featuring the historic Gresigne forest in Tarn, France. This exhibition presents the forest as a metaphor of the mind which, like a forest, is in a constantly evolving process of change and growth. Like all forms of change this can be frightening, but it is ultimately an essential part of natural growth and decay.

Paul Valery expresses in his 'A dialogue about trees' 1944:

'The tree and love: in our minds the two can unite to become one idea. Each grows from an imperceptible germ, becomes stronger, expands, branches out; but to the same extent that it reaches skyward (or 'blissward'), it must become rooted in a sphere invisible to us: in our very being.'

Using a pinhole camera Gina Glover takes the viewer on a journey through a series of gardens from her past, now inhabited by a new generation of children.

Part of a series of three separate but linked pieces of work, Retelling Tales from a Garden, A Painter’s Garden is a joyous celebration of colour and sensuality exploring the changing moods of the artist over twenty years through the reinterpretation of the meaning of her childhood garden.

Glover has hunted, collected, trapped her flowers like moths. Under her ice-glaze, they are secretive, shy, cautious, wounded. They also anticipate, resist, tease, conceal, and slowly, finally, meet her gaze. ‘How long can one stay in the state of pleasure or is it the state of passion which will fade and be gone?’ she asks.

Kay Syrad, 2004

The camera obscura is one of photography’s earliest devices for freezing time. Centuries ago, it was observed that a pinpoint source of light in a darkened room would form an image on a facing surface and the camera obscura as the ‘room’ came to be called was used by many a renaissance artist as a drawing aid. Glover has transformed her garden summerhouse into such a camera obscura.

Victor H. Carroll 2003

"If we hope to live not just from moment to moment, but in true consciousness of our existence, then our greatest need and most difficult achievement is to find meaning in our lives."

Bruno Bettelheim

Published as part of 'Shifting Horizons'.