6th December 2016 - 25th February 2017

A photographic journey weaves its way through King’s Cross prior to Regeneration, a pathway guided by light and memory reveals Interior spaces from London to Croatia. Starting at The Fish and Coal Building, re-imagining a past life for a forgotten space to rooms at neighbouring Tenement flats, The Culross and The Stanley Buildings, and further to Europe.

Stories brings together a group of pictures, whereby each photographed room is  witness to the shifting of time, to memories past and present; of space and connection, family and home.

minnie weisz
Minnie Weisz, Stories, 2016 (c) Jonathan Murphy

For Stories Weisz investigates the surroundings and social history of these sites, which house the photographic process. Sometimes objects are assembled and arranged in the space to author fictional memories of a building’s past, both real and imagined. Some pictures have a more formal documentary approach to visual storytelling where the interior architecture of a place is photographed.

Minnie Weisz mainly incorporates and adapts the Camera Obscura* method within her photographic practice: by allowing light in through a small hole in a darkened room, a shard of light passing through the small opening reflects and projects an inverted image of the exterior landscape back onto the walls inside. The exterior landscape appears as a moving image and is upside down in the room. With rolls of black out paper to seal the windows and space in darkness, working with a medium format Hasselblad analogue camera, Weisz photographs the reflections immersing the interior space using long exposure times from 1 - 4hours.

minnie weisz
Minnie Weisz, Stories, 2016 (c) Jonathan Murphy

Technique aside, each picture opens up a conversation between exterior and interior worlds, like a key, light unlocks a connection between inside and out, reflections seem to collide and merge, new spaces are opened up. The room is an eye, tracing memories and the passage of time. Each layer building up a story the viewer is invited to interpret in their own way.

*The term Camera Obscura derives from Latin meaning Dark Room, camera – room, obscura – dark. This method has been interpreted through photography, painting, science and philosophy. From Plato’s Cave to Leonardo Da Vinci who turned rooms into light chambers to examine the physics of light. The evolution of this phenomenon was later adapted to a box-like contraption to aid the process of painting by Vermeer and in understanding photography and how a camera works by experimenting with pinhole cameras and pinhole boxes.

About the artist:

Minnie Weisz is a photographic artist and a Camden resident. Her studio is on Pancras Road, King’s Cross. She studied MA Communication Art and Design at The Royal College of Art (2003) and exhibited her pictures and films in the UK, Croatia, The Netherlands and France. Her work is published by Lawrence King in Photography Portfolio by John Ingeldew and Lorenz Gullaschen 2013; 100 Ideas that changed Photography by Mary Warner Marien 2012; A-Z of Visual Ideas by John Ingeldew 2011.

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