Sylvia Grace Borda | Artist Website
  • Living Artworks
  • Vancouver Fruit Histories and Communities Book
  • Climate Money
  • Internet of Nature
  • Shifting Perspectives Book
  • Digital Art
  • What are you doing Richmond
  • Kissing Project
  • Mise en Scene
  • Farm Tableaux - Google Street View
  • Farm Work
  • Aerial Fields
  • Lumsden Biscuit
    • Social Enterprise
    • Edible photograph
  • Camera Histories
  • Cameras and Watercolour Sunsets
    • Cameras and Watercolour Sunsets 2019- present
    • Cameras and Watercolour Sunsets 2017-19
    • Cameras and Watercolour Sunsets 2013-14
    • Cameras and Watercolour Sunsets 2010-12
  • Interrogations of a Camera
  • This is not a camera
  • Impressions
  • Seeing Technologies
  • Northern Ireland
    • Coming to the Table
    • Orchards
  • Artist Bio
    • Artist Bio
    • Teaching Practice
      • Example Student Project
    • Public Speaking
    • Request a lecture
    • Purchasing Art
  • Exhibition History
    • Exhibition History
    • Reviews
  • Contact
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  • Architecture
    • Architecture
    • Preplanning design
    • House as Social Agent
    • Generous Architecture
  • Community Engagement
    • Community Engagement
    • Example Project
  • Snow Cameras
  • Hunting Cameras
  • This one's for the farmer
  • Momento Mori
  • Stereoworks
    • Two if not Three
    • Aura
    • Viewpoints
    • This is not a camera
  • Cuneo Camera Obscura
  • Public Art Commission: Number 4 Pump Station
  • re-COLLECT-ing
  • A Holiday in Glenrothes
  • EK Modernism
    • EK Modernism
    • Project legacies
    • Canada series
  • Every Bus Stop in Surrey, BC
  • Living Artworks
  • Vancouver Fruit Histories and Communities Book
  • Climate Money
  • Internet of Nature
  • Shifting Perspectives Book
  • Digital Art
  • What are you doing Richmond
  • Kissing Project
  • Mise en Scene
  • Farm Tableaux - Google Street View
  • Farm Work
  • Aerial Fields
  • Lumsden Biscuit
    • Social Enterprise
    • Edible photograph
  • Camera Histories
  • Cameras and Watercolour Sunsets
    • Cameras and Watercolour Sunsets 2019- present
    • Cameras and Watercolour Sunsets 2017-19
    • Cameras and Watercolour Sunsets 2013-14
    • Cameras and Watercolour Sunsets 2010-12
  • Interrogations of a Camera
  • This is not a camera
  • Impressions
  • Seeing Technologies
  • Northern Ireland
    • Coming to the Table
    • Orchards
  • Artist Bio
    • Artist Bio
    • Teaching Practice
      • Example Student Project
    • Public Speaking
    • Request a lecture
    • Purchasing Art
  • Exhibition History
    • Exhibition History
    • Reviews
  • Contact
  • News
  • Architecture
    • Architecture
    • Preplanning design
    • House as Social Agent
    • Generous Architecture
  • Community Engagement
    • Community Engagement
    • Example Project
  • Snow Cameras
  • Hunting Cameras
  • This one's for the farmer
  • Momento Mori
  • Stereoworks
    • Two if not Three
    • Aura
    • Viewpoints
    • This is not a camera
  • Cuneo Camera Obscura
  • Public Art Commission: Number 4 Pump Station
  • re-COLLECT-ing
  • A Holiday in Glenrothes
  • EK Modernism
    • EK Modernism
    • Project legacies
    • Canada series
  • Every Bus Stop in Surrey, BC
Seeing Technologies
C-41 digital prints; sizes various
2011 - present


Seeing Technologies is comprised of a series of images of hands interacting with photographic and optical devices. The prints appear as black and white negatives, allowing the viewer to see the image through an altered perspective that directly alludes to darkroom image processing and rendering.

The series’ title, Seeing Technologies, also seeks to address the interpretation of technology and recording. In one instance the viewer is given the opportunity to reflect on these images as representations of devices that record and document. In another instance, the viewer may respond to the technology as a process that has, up until recently, been contingent on the use of the image ‘negative’ in order to produce a positive.

Metaphorically the term ‘negative’ and ‘positive’ subtly reference and question which perspective the viewer may perceive as ‘correct’ in term of one’s relationship to technology. The viewer is left to assign his or her own value in the pull between technology for observation and ‘seeing’ and its management through human intervention.


REVIEWS
2020
Barenscott, Dorothy. ‘Slow Photography’ pp 77-96 in ‘Shifting Perspectives: Sylvia Grace Borda’ Heritage House Press in conjunction with Surrey Art Gallery Publication, pp 226  ISBN 9781772033298.  https://www.surrey.ca/arts-culture/surrey-art-gallery/gallery-publications/exhibition-catalogues/shifting-perspectives

2018               
Borda, Sylvia Grace. “Locating the Camera” in Photographies, Taylor and Francis Publishers, London, UK vol 11, 2018 ISSN: 1754-0771 

2016
Travis, Rebecca.  "The only thing that’s changed is everything" feature article in the 2016 Summer edition of Scottish Society for the History of Photography  https://web.archive.org/web/20180902212635/http://sshop.org.uk/project/rebecca-travis/

2014
Travis, Rebecca. “Sylvia Grace Borda: Camera Histories” in Reviews: Photomonitor, UK. January 27, 2014
https://photomonitor.co.uk/exhibition/sylvia-grace-borda-camera-histories/

“Art in Scotland TV channel feature: Sylvia Grace Borda Camera Histories – Artist interview” produced by Summerhall TV, Dec 29, 2013 http://www.artinscotland.tv/2013/sylvia-grace-borda-camera-histories/

Artist video interview (December 5, 2013) with Christiane Monarchi, editor of PhotoMonitor Magazine about  'Camera Histories' presented at Street Level Photoworks Gallery, Glasgow, Scotland (November 23, 2013 - February 2, 2014).
https://www.youtube.com/watch?v=6jo7lxuQ-KU





  • Living Artworks
  • Vancouver Fruit Histories and Communities Book
  • Climate Money
  • Internet of Nature
  • Shifting Perspectives Book
  • Digital Art
  • What are you doing Richmond
  • Kissing Project
  • Mise en Scene
  • Farm Tableaux - Google Street View
  • Farm Work
  • Aerial Fields
  • Lumsden Biscuit
    • Social Enterprise
    • Edible photograph
  • Camera Histories
  • Cameras and Watercolour Sunsets
    • Cameras and Watercolour Sunsets 2019- present
    • Cameras and Watercolour Sunsets 2017-19
    • Cameras and Watercolour Sunsets 2013-14
    • Cameras and Watercolour Sunsets 2010-12
  • Interrogations of a Camera
  • This is not a camera
  • Impressions
  • Seeing Technologies
  • Northern Ireland
    • Coming to the Table
    • Orchards
  • Artist Bio
    • Artist Bio
    • Teaching Practice
      • Example Student Project
    • Public Speaking
    • Request a lecture
    • Purchasing Art
  • Exhibition History
    • Exhibition History
    • Reviews
  • Contact
  • News
  • Architecture
    • Architecture
    • Preplanning design
    • House as Social Agent
    • Generous Architecture
  • Community Engagement
    • Community Engagement
    • Example Project
  • Snow Cameras
  • Hunting Cameras
  • This one's for the farmer
  • Momento Mori
  • Stereoworks
    • Two if not Three
    • Aura
    • Viewpoints
    • This is not a camera
  • Cuneo Camera Obscura
  • Public Art Commission: Number 4 Pump Station
  • re-COLLECT-ing
  • A Holiday in Glenrothes
  • EK Modernism
    • EK Modernism
    • Project legacies
    • Canada series
  • Every Bus Stop in Surrey, BC