Slow, Fixed Distance


title: Slow, Fixed Distance
year: 1997
body of work: “Irregular Outings”
series: n/a
medium: Iris print on Ultrastable mounted on Aluminum
size: 33″ h x 33″ w
edition size: 1 and 2 AP
collections: MOCA, Los Angeles, CA
availability: #2 of 2AP

artist brief:

The prints in this series are 35 mm photos which are digitized (scanned), and then have a detail of their color duplicated and spilled outside of the pictures edges to create a surrounding color field. They are then reprinted with ink jet technology, mounted full frame on Aluminum, face mounted with matte lamination, and hung flush to the wall.  Later manifestations are face mounted to matte Plexiglas, mounted on Cintra and framed with thin matte white frames.

“Slow, Fixed Distance”  is inspired by Alain Robbe Grillet’s observations of an escalator in his short story “In The Corridors of the Metro”.  It points out the dynamic of pedestrian motion freezing when one hits an escalator, yet the body continues to move.  This little moment of frozen movement is one of my  favorite spots to take pictures, since it provides certain relations of force to take over my relative relationship to the people I am photographing.  The Mahogany colorfeild is coming from a shaded red enamel on the short walls of the escalator, as the figures handbag generates a relationship with the walls railing.

Regarding the body of work:

“Irregular Outings” is made up of the final images in the “Sentiment and Vagrancy” period, 1996 – 1997.   A common thread which appears through all the work in “Sentiment and Vagrancy” seems to be a kind of phantom chasing.  That is the work seems to conjure effects that occur between elements like colors, colors and lines, flat and illusionistic picture space, sentiment and formalism, memory and retinal impact, movement and intention – effects that are not attributed to any one thing but float between two or more tendencies. In brief, the pictures I make utilize: inseparable yet incommensurable parts like illusionistic or photographic space and color fields, resonance’s in color relationships, and untraceable mark making patterns that cause spatial disturbances.  When using photography, travel creates the momentum for taking pictures providing subject and circumstance in a continual stream. I look through photos that I had taken in travel or while wandering around, with an interest in encouraging what is unfamiliar about any given image. I approach this task by pushing appearances in various directions within each picture using a computer and Ink Jet printing, and by playing off the relations which arise between images.  I choose photos that  relate to one another through numerous formal considerations (color, compositions, effects…), and insight tangents (amplify detail within the pictures).  A shadow, light source, or sometimes an object in the space of a picture I am working with will have a detail of its color duplicated and spilled outside of the pictures edges to create a color field that comes out of, goes around, and back into the image in a continuous loop.  Pigment and picture are combined in a flip flopping of implied depths and solid colors, at once continuous and discontinuous, inseparable and incommensurable. Once such material relationships are activated, I found pictorial content strayed from subject matter, continually re-focusing on the gap between picture and representation, formalism and sentiment since sensory born relations in appearance interfered with the tendency of prioritizing communication.  The travel photos tell nothing to clarify a sight but utilize and escalate the strangeness of the sight by its very appearances.  The emotion or feel that is instigated by the pictures is present yet un-anchored by communication due to distracting material investments.  In other words, the pictures at once appeal to ones feelings via the senses, while they simultaneously offer enough physical distraction for the senses to ambiguate the feelings elicited.  This set of observations inspired the title “Sentiment and Vagrancy”.   – 1996.

Kevin Hanley All rights Reserved.  Reproduction by permission of artist only.