They have a shoulder, a hand or part of a face at the very edge, but because of the way I have cut them, the centre of the pictures, the place we are trained to look, is now empty. Recently I have become very interested in this collection of small clippings in and of themselves Most of them include a small section of the figure that has been cut away. I have never directly recreated or reproduced any of these found pictures, but have made images based on them. Mostly I find them in newspapers and magazines and I cut and crop out the section of interest to me and pin it to my studio wall. Barth has explained:įor many years now I have been collecting pictures in which the background interests me, sometimes for purely formal and compositional reasons, at other times because the type of location or subject matter or even some odd relationship that occurs between background and subject.
Uta canvas series#
The images in this series originally functioned as notes and source material for the artist. The frame of one image is half filled by a close-up view of a bare arm and waist, silhouetted in shadow against blue water. The words, only partially visible, pose a question to a viewer about 'need' and 'want'. Another image consists of a fragment of text laid over a photograph of a cloudy sky. The woman's cheekbone and part of her right eye have been cropped into the top right corner of the image. The most overtly poetic image contains part of a woman's hand holding a cherry against a backdrop of greenery shimmering in white light. Several of the images derive from a photograph of a woman in front of trees in others the background is so blurred as to be unreadable. Only the edges of shoulders, clothed and unclothed arms, hands and faces are visible. This is part of the original 'subject' of the photograph, which Barth has cropped dramatically. They depict out-of-focus, outdoor backgrounds with a foreground component protruding into the edge of each composition. Nine are colour and one is black and white. They are derived from photographs culled by the artist from a variety of sources. The ten images are not individually titled and do not have a particular sequence. Ryan printed the portfolio on ragcote paper in an edition of thirty, of which this is number nineteen. This is a special technique developed in the mid 1990s by Jeff Ryan of 21 Steps, Santa Fe for lens-based work. Barth's portfolio of ten images titled in passing." was produced by waterless lithography.
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