‘of Fancy’ explores peoples space’s, which are more and more commonly being disregarded in our fast paced society; drawing on the potential of such spaces, forms and materials through new perspectives and reproduction.
This body of work in particular explores an amateur stage setting which has gone relatively untouched for years, hidden in a community centre in Burnage. Working in the space, playing off its eclectic materials using the flattening photographic process, Portet has created work of a playful imaginative nature. Through reproduction and installation of an equally imaginative fashion, she ultimately creates work ‘of Fancy’.
The series has been exhibited in group exhibitions both nationally and internationally; as part of the Manchester School of Art Degree show 2018. The work was also shown in Arles in Route exhibition, part of Voise Off festival 2018, as well as in China for Pingyao International Photography Festival 2018.
This project's installation was commended by Castlefield Gallery, awarding Portet as their Honorary BA Photography Graduate 2018/19.
Materiality is an important part of the work both in the images and in instillation. The three dimensional nature of the work makes the piece accessible to viewers whilst employing real space and hinting towards spacial themes by coming out and raising off the wall’s surface.
The piece makes use of hand crafted amateur mounting materials and processes, with no professional fixings or mounts. Images are mounted onto bespoke wooden mounts, which respond to the set pieces photographed and draws on these materials’ and processes’ ability to invoke such imagination and creativity when recognised. The larger prints are hung off wooden batons, unfixed and curling, hinting towards the image content as well as reiterating the playful and imaginative nature of the work.
The images and instillation ask the viewer to employ their imagination whilst viewing the piece, something important to the project. Images across the wall are hard to make out where a Tromp L’oiel esc distortion of perspective is present.
The work is installed so that it cannot all be seen and taken in at once, using the wall as a signifier of space which the images lack. One has to move around the piece, replicating the manner in which the images were made. The work is almost performative in this sense.
This work speaks of a place and time when people would come together, and in applying creativity, realise the potential of such space and humble materials.