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These artworks are composed of three related elements. A digitised reproduction of a late 19th early 20th century gelatin dry plate negative (sourced from a photographic archive in Rome), a more recent image of the archival material's subject (photographed at the Metropolitan Museum of Art in New York in 2017), and a landscape, seascape, or atmospheric condition (photographed at various locations around Greece).
The small archival image in the bottom right corner of each artwork is drawn from the John Marshall Photographic Collection held in the British School at Rome Archive. It is relevant to note that Marshall (1862-1928) was a scholar of ancient sculpture and dealer of antiquities who acted as European Agent for Antiquities to the Metropolitan Museum of Art between 1906-1928. Many of the images in the Marshall Collection were created to assist museums in their acquisition of ancient objects during what is now sometimes questionably referred to as “the great collecting age”. In this instance the museum was Metropolitan Museum of Art. The larger figurative elements of these artworks were photographed by Hazewinkel in available light in the Metropolitan Museum of Art Greek and Roman galleries. Each of these images represents the same object represented in the accompanying archival image. The largest photographic element of each artwork is its contextualising background, these sometimes epic vistas were photographed at various locations around Greece during 2019.
For further information concerning the early development of this body of work including work-in- progress images, please see the artist's essay From Limbo To Mashup and The Spell Of The Fake: Relating Contemporary Photographic Practice, The Photographic Archive and Material Engagement Theory here
This project has been assisted by the Australian Government through the Australia Council for the Arts, it’s art funding and advisory body.
Archival material courtesy of British School at Rome Archive.