Ali Nasseri | Suki & Hugh Gallery, Bungendore | Until 20 March 2022
Times gone, days lost and you is an exhibition of large format photographic images by Sydney-based photographer Ali Nasseri. In this show he has taken inspiration from his own patch – the ocean at Bondi. The images are large and vivid in colour. Each image is complemented with Nasseri’s poetry.
Whilst Nasseri uses digital cameras for commercial jobs, he much prefers film for his art and his experience working with analogue photographic techniques is extensive. Here, he has shot on Kodak Gold 400 film using lead weighted underwater cameras in housings, set up so they float on the surface – held in his hands whilst he paddles around breathing through a snorkel.
Speaking with Nasseri, I learned he had experienced difficulty finding underwater cameras that could be serviced when something went wrong – such as being jammed, saltwater leaking into housings, or light leaking into the camera body. But nothing deterred him. Indeed, accepting what happens and even making the “faults” be important features of his imagery clearly reveals his way of working.
Some works are from double exposed negatives while others are made from two negatives being “sandwiched” together highlighting the unexpected and unique results that working with film can offer.
The large prints on exhibition have been created by rephotographing the film negatives with a 1:1 macro digital lens. That has brought out detail of the 35mm film’s grain – like enlarging it under a microscope. And detail is what the works are all about – we are invited to look right into each image to see what is in it. Yes, grain! But also overlays, light leaks, softness – and more grain!
Each print is accompanied by a small, suspended sheet of paper on which Nasseri has typed poetry. Yes, typed – on a manual typewriter. Imperfections have been corrected on the fly. When he has made typographical errors, he has simply gone back and overtyped them with horizontal lines. Sometimes he has omitted to leave a space between each line, but that does not concern him. And it should not concern us either. These are simply similar “faults” to those in the images. No whiteout liquid has covered them up. You will need to visit the gallery to enjoy those typos, but here is one sample to whet your appetite.
The artist says tapping away on a typewriter creating his poetry is like shooting on 35mm film to create his images. His “arranged” words accompany his images in a random emotive way. Just another way of adding to the message.
So, why poetry? Nasseri has found that people look at an image then read the accompanying poetry. The words trap into their conscious minds. Gallery visitors look at images for longer, then the art forms within their brains. There are words about love, romance, seduction and flirting. Along with words about the moon, sea, orbits and tides.
In the poetry accompanying Drift and wonder I particularly appreciated “The furthest thing from the truth is tomorrow.”
And accompanying Everything is unique, who could argue with “everything can be identified by how it’s different.”
Both musicians and visual artists would surely relate to some words in Space between breaths – “the notes that weren’t played, the black between, where mystery lies, look between the dots.”
Brett Whitely once said “Art should astonish, transmute, transfix. One must work at the tissue between truth and paranoia.” Those words are often quoted by other artists who create mysterious abstracts. Nasseri’s works here are in many respects mysterious, but they are not unfathomable. In a sense they explore the divide between truth and falsity. Certainly they provide much food for thought.
This review is also available on the Canberra Critics Circle blog here.