Project reviews
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 http://sshop.org.uk/project/rebecca-travis/ password samalan
2014
Travis, Rebecca. “Sylvia Grace Borda: Camera Histories” in Reviews: Photomonitor, UK. January 27, 2014
http://www.photomonitor.co.uk/2014/01/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 'Cameras and Watercolour sunset' series and other works presented in the exhibition 'Camera Histories' presented at Street Level Photoworks Gallery, Glasgow, Scotland (November 23, 2013 - February 2, 2014).
https://www.youtube.com/watch?v=6jo7lxuQ-KU
Seeing Technologies
Sizes: various
Number of works in Opus: (2011) 26 | (2015) 18
Full description:
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.
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 http://sshop.org.uk/project/rebecca-travis/ password samalan
2014
Travis, Rebecca. “Sylvia Grace Borda: Camera Histories” in Reviews: Photomonitor, UK. January 27, 2014
http://www.photomonitor.co.uk/2014/01/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 'Cameras and Watercolour sunset' series and other works presented in the exhibition 'Camera Histories' presented at Street Level Photoworks Gallery, Glasgow, Scotland (November 23, 2013 - February 2, 2014).
https://www.youtube.com/watch?v=6jo7lxuQ-KU
Seeing Technologies
Sizes: various
Number of works in Opus: (2011) 26 | (2015) 18
Full description:
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.
