Colin Miner


It is very difficult to grasp a ghost, and this is especially true when that “ghost” is an absent/present haunting of photography.

The relations and connections between the absent and present provide access to the political. The evil eye approaches while keeping distance, signifying a boundary of the in-between. What askew traces might be left in the darkness of the subterranean and the constellation? Coal becomes Analine: chemical of alchemical properties that brings forth all color. Taken together the brilliant white of stars, of reflection and refraction, is light that shunts back to darkness through blindness and overexposure. Presently a haunting and anxiety rests within the photographic as a shimmering cloak of silver.


My current research seeks to evoke, rather than seize, a photographic state of being. I think of this along philosophical terms as a questioning of the ontology of photography – as a study of being, and through an artistic practice that places emphasis on an engagement with the materiality of photography. This takes form in the production of photographic prints, sculptures and video work that investigate the material and conceptual nature of photography. Essential to my questioning is a consideration of the qualities of lightness, darkness, reflection, and refraction. In asking how photography might “be”, my work attempts to position a conversation in relation to the terms of haunting as the anxious, cyclical, and askew.