April 15, 2010
Anne Hardy's images of empty imaginary rooms are one part photography, one part performance art, one part sculpture. Of her work curator Francesco Manacorda writes
"she meticulously turns her studio into a theatre set entirely constructed for the camera’s eye only. Imaginary rooms are given three-dimensional temporary presence only to be translated into two-dimensional records and then destroyed. Always empty, they are full of the residues left behind by the fictional actions of a character or a group of people who have seemingly just left them. Comparable to the effects of the absent ball in the mimed tennis game, her photographs aim at the fictionalisation of the world around her through the construction of sets that rotate entirely round absent actors."
While one could argue this could be said about any good still life, the suggestion of absent characters who have just stepped out is especially strong in Hardy's work and infuses it with an air of mystery.
Of her physical process of making her work she writes
"The whole space is structured around the position of the camera. It's put together as a photograph, rather than an installation. Sometimes I go back and reshoot things, moving something 10cm this way or that. The actual moment of taking the final photograph can almost seem - not an anticlimax, but such a tiny thing."