EL
There was one page from your notebook… I found myself sometimes paying close attention to what was written and inscribed, and other times just looking at these notes as visuals… but there was a line somewhere about being like moss, always growing and never complete.

AM
Yeah, so another aspect of my practice has been trying to understand or come to terms with the ideas of completeness and incompleteness, and fragmentation and wholeness. The fact is that moss and fungus are never finished, they just continue to cover ground as they grow.

EL
On that point, there is a level of chance and accident in some of the writing, or maybe it’s the Moyra Davey idea of the accident, images coming together as they will. There’s another layer of your treatment of the images too, because sometimes we have black and white photocopies and other times they are colour-printed snapshots, and there is a sense of framing and choice around the treatment of these reproductions.

AM
I think that comes down to the way the work re-contextualises material from many different points in the year, when I may have been printing in a certain way at a certain point in time. Right now I actually don’t have a printer handy, but I realised I have so much paper with pictures on it and I love all of the images and want them to be something. I like how things from different points in time can become something new when they’re re-contextualised in the present. Particularly now when the present tense is so slippery and our days tend to disappear on us.

Davey, M 2008, ‘Notes on Photography and Accident’, Long Life Cool White: Photographs and Essays by Moyra Davey, Harvard University Art Museums, Cambridge, MA

Bookmarks, 2020
Varying photographic prints, and object

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