Sally Waterman

'Twenty-Twenty One' project (2017-2018)

 

I am currently working on a video for my 'Twenty-Twenty One' project, which examines my long-term relationship with my partner in the light of his treatment for heart failure.

This project includes the ‘Home: A Structure on Trial’ (2017) video which was originally commissioned for ‘Talking Transformations: Home on the Move’, and has been shown at the Whitstable Biennale, Ledbury festival and at the National Poetry Library, Royal Festival Hall this year.

The poem by Rafał Gawin became symbolic of his recovery, with the home becoming a place of refuge and safety, whilst also becoming claustrophobic, with the flickering sunlight, reflected upon the floors and doors being indicative of his irregular heartbeat. A selection of photographs will also accompany the two video works and I aim to make this series live on the projects page by the beginning of next year.

 

'Picturing the Family: Media, Narrative, Memory' (Bloomsbury, 2018)

 

I have a chapter entitled 'Performing Familial Memory in Against' which analyses my 'Against' video from the 'Translucence' series in this recent publication, edited by Silke Arnold-de Simine and Joanne Leal which considers the role of the family photograph in forming both personal and collective cultural memory.

Based upon papers delivered at the 'Picturing the Family: Media, Narrative, Memory' conference held at Birkbeck, University of London in 2014, the contributors include Martha Langford, Oksana Sarkisova and Olga Shevchenko, Deborah Schultz, Richard Lowell MacDonald and Silke Arnold-de Simine alongside fellow co-ordinators from the Family Ties Network; Lizzie Thynne, Suze Adams, Jacqueline Butler and Nicky Bird.

 

'Global Photographies: Memory, History, Archives' (Transcript, 2018)

 

This publication features my contributing chapter, entitled, 'Re-imagining the Family Album through Literary Adaptation', which analyses the 'PastPresent' (2005) photographs and the 'Fortune-telling/Re-telling' (2007) and 'The Deep Sea Swell' (2009) videos from the 'Waste Land' project. The chapter outlines my practice-based PhD research which was later developed for a paper at the 'How History Enters Photography' symposium held at Goethe University of Frankfurt, Germany in June 2012.

This edited collection by Sissy Helff and Stefanie Michels examines "...the relationship between history, photography and memory in a global perspective on three interrelated levels: firstly, in the artistic and cultural production of pictures, secondly, in the decoding of colonial and contemporary photography, and thirdly, in collecting photographs in picture archives dealing with colonial and anthropological photography. The contributions sketch the contested field of (post-)colonial photography and trace the manifold intertwinements between historical and contemporary photographs."

Available as a free PDF download.

Recent Exhibitions & Events
10th November 2018
6th October 2018
26th July–23rd September 2018
3rd-25th August 2018
Tasmanian International Video Art Festival, Sawtooth ARI gallery, Launceston, Tasmania, 'Against' (2014) video from the 'Translucence' project installed in group exhibition

http://tivaf.tv/artists.html

29th June–8th July 2018
15th June 2018
'Contexts of Film Practice', MeCCSA and Media Practice and Education Practice Network Annual Symposium, University of Lincoln, Presented a paper entitled ‘The ‘Waste Land’ Project: Framing Practice-Based Research Through Literary Adaptation'

https://vimeo.com/276061551

9th-10th June 2018
3rd February-7th May 2018
3rd February-7th May 2018
3rd February-11th March 2018
'At the Violet Hour', Nayland Rock Hotel, Margate, Photographs from 'Sermon: Vol. I Encounter' (2008) from the 'Waste Land' project were featured in this group exhibition curated by Chiara Williams and Shaun Stamp.

http://www.chiarawilliams.com/at-the-violet-hour.html