Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University. This Friday’s #ArtCrush is Patrick Corrigan, a photography student in thesis.
In this series, Patrick and Morgan talk about ideas of simulation in photography, constructing light boxes and cinematic inspirations.
Can you walk us through your process of developing a concept or research grounds for your work, and starting to produce the work(s)?
I try to work locally with my concepts. Self-reflection has proven to be the most genuine means of finding any kind of subject matter that really feels like I can speak factually on. After landing on a topic I feel is important enough to warrant further investigation I try to decide on how I can create something that best conveys my idea through image-based media.
Who or what are your main artistic inspirations?
In my past photographic works I have taken to making miniature sets which were captured in the style of film-stills, inspired by romantic cinema tropes in films like Casablanca. Recently, however, I’ve been trying to materialize a conceptual work which has been highly influenced by digital spaces and simulation. Ridley Scott’s movies have also played a big role in shaping my conceptual outlook on projects.
What subject matter do you tend to spend the most time working on?
In most, if not all of my work, the underlying concepts of the fake and the real are always present. Photography has a very unique way of providing commentary on subjective perception using semiotics.
Patrick Corrigan, Untitled 2, lightbox installation – digital image, 2018
What role does research play in your art practice?
Research plays a fairly large part in my practice. A lot of what I have encountered in my own explorations of photography and image making have already been discussed by various theorists, so having a published source always helps to provide a more fortified concept.
What body of work are you working on right now?
I am currently working on my thesis work which is centred around the creation of various lightboxes which will be filled with plants. The plants will create a silhouetted projection onto the image plane effectively acting as a representation and a depiction of the object in real-time.
Can you speak to the dream-like aesthetic of the images in your thesis work and the relationship between using lightbox’s (physical objects and materials) and the photographs?
Each lightbox contains red, green, and blue LED lights which project and diffract around the enclosed plants creating the aforementioned aesthetic. I felt that the LEDs best relayed the idea of digital spaces as many computer screens use a similar means of backlighting. The photographs, when viewed in on a computer or cellphone screen can communicate in a similar fashion as they are effectively representing the same information as the lightbox.
Patrick Corrigan, Installation Lightbox Image, basswood and plexiglass, 2018
You are working with this idea of simulation and deception vs reality and physical materials, and the ambiguity between these thoughts. What do you hope viewers discover or contemplate while viewing your work?
I hope that viewers can adopt a principle of ambiguity within every image while viewing my work. By affording each image properties attributed to both fake and real content the audience’s ability to effectively interpret the artist or author is reinforced. The ambiguity that exists within the work also becomes a demonstration of how simulated content can take on its own physical properties.
What is the process of creating a lightbox?
I have previously worked with found objects such as shelving units, which I have then turned into frames that would make for an appropriate lightbox. After finding the frame, a back paneI is fitted with LEDs which vary depending on the intended projection and the objects are sealed within the box using plexiglass and frosted mylar. I am currently in the process of learning how to create the frames in the woodshop, which I feel will create a more substantial final piece.
Patrick Corrigan, Untitled 1, lightbox installation – digital image, 2018
How do you think your process has evolved over the past couple years?
My process has evolved immensely over the last few years. Early on in my schooling I found it difficult to create any concept-based work and was purely aesthetically driven. As I progressed through my education, I have been able to derive concepts directly from my own life experiences and the resulting work becomes something that I truly enjoy making.
Are their any specific OCAD U Faculty who have influenced your work? A specific discipline or course?
A lot of the upper-year photography faculty have really provided me with an outlet to voice my crazy ideas and have not been afraid to tell me when they are not as effectively executed as they could be with more exploration. Kotama Bouabane and Nick Pye have been invaluable resources in years passed while Simon Glass has been a huge help in developing my work this year.
What do you find the most valuable about the critique process that you’ve experienced in Thesis?
Having a class full of educated artists to critique your work regularly is not something which can be easily replicated outside of the university setting, I am extremely grateful for being able to show my work to my peers and receive well-founded opinions on the work along with feedback.
Patrick Corrigan, Love, digital inkjet print, 2015
What is one piece of advice you would give to someone starting out in photography?
I think everyone has their own approach to making images and that each work should serve to improve on that unique element. That being said, one of my instructors once advised against making ‘easy images’ which is a sentiment I would echo. Try to make work emphasizes how you see the world.
Friday #ArtCrush is a weekly blog series highlighting students in their final year at OCAD University.
Interview by Morgan Sears-Williams
About the writer: Morgan is a photo alumni and runs the Friday #ArtCrush series on the OCAD U Photography Blog. She loves speaking to other artists about social justice, how to break barriers within artist communities and nurturing the arts in alternative non-institutional spaces. She is the Art Co-ordinator for The RUDE Collective, and has done workshops on intersectionality and allyship relating to LGBTQ folks. To see more, you can visit her website or her instagram.