The certainty is in the choice of the images
The blurp writes : “Featuring saturated and unusually atmospheric images of local and regional everyday life. Jeremy Sharma, known for his painterly visual language in both drawing and video work, showcases photographs as a main medium”. The works, large prints previously exhibited at the Esplanade level 3 opposite the Library and smaller ones, are distinctly squarish. The square format, large grain (pushed), contrast and focus suggest the use of Lomo Holga, or a Kodak brownie.
The snap shot has arrived again at Substation Gallery, with certain grain and lyricism of the various places occupying the photographer/artist’s memory. The photographs are snippets, composed and cropped fragments of memory of places visited, forgotten, lost. The photographs, especially the smaller intimate ones, seem to reveal more about the artist as flaneur and his the social walkabouts then about the places they represent. These images are indeed atmospheric, but nothing more. In a ‘slant of light’, it doesn’t yet reveal the rigour of the likes of photographer Martin Parr or the technically proficient photographers that hang about Clubsnap. It is not Wolfgang Tilmans, where snapshots crosses fashion photography and fine art photography. These photographs while thematically coherent (walkabout), lacking in visual stimulus, beaten, retreat safely into the white walls of the gallery.
The exhibition is nonetheless a brave attempt to put vision and snapshots into print. It is deliberately divorced from Lomography, a branch of snapshot aesthetics that is known for saturated prints which we should know are lab-processed and computer enhanced as that. There isn’t much miracles with plastic lens. But I will still say it’s the person behind the camera that makes the photograph, and Jeremy should just push on, decide whether composition is important to him, till a more pressing statement or reason to take photographs arrives.
2.0 of 5 stars
The Substation Gallery
2 – 16 Nov, 2006