Dear Mr. Duncan,
I would like to submit my work to the editors of Source and to Pavilion for their review, as I would love the opportunity to have my images published. Please see below a description of my work and attached six images.
I look forward to hopefully being able to tell you more about my work on the 23 February.
Yours Sincerely,
Sarah Baumann
'At the core of my practice as a visual artist is an ongoing fascination with the remnants of history, the signs of decay and erosion, and the intricacies of colour and fragility in aged structures, which reveal the process of gradual deterioration. I utilise Leeds’ industrial heritage by appropriating salvaged and reclaimed materials using contemporary, photographic compositions to capture and reinvent the physical traces of the city’s historical past from institutionalised places. This has instigated a sustained engagement with the textural qualities of industrial artifacts, be it the multi-layered fabrics created during the worsted process, or the mechanical surfaces of the machines, or even the subtle renderings of transience on abandoned constructions.
The chosen images are characterised by their ability to harbour a memory of the structure’s transcended usage before being absolved. The multi-sensory experience is greatened by the camera’s subtle explorations of the surface and patina, which detach and abstract the subject from its original context, allowing access to a more metaphorical pictorial language of abandonment, loss, transience or impermanence.'
I would like to submit my work to the editors of Source and to Pavilion for their review, as I would love the opportunity to have my images published. Please see below a description of my work and attached six images.
I look forward to hopefully being able to tell you more about my work on the 23 February.
Yours Sincerely,
Sarah Baumann
'At the core of my practice as a visual artist is an ongoing fascination with the remnants of history, the signs of decay and erosion, and the intricacies of colour and fragility in aged structures, which reveal the process of gradual deterioration. I utilise Leeds’ industrial heritage by appropriating salvaged and reclaimed materials using contemporary, photographic compositions to capture and reinvent the physical traces of the city’s historical past from institutionalised places. This has instigated a sustained engagement with the textural qualities of industrial artifacts, be it the multi-layered fabrics created during the worsted process, or the mechanical surfaces of the machines, or even the subtle renderings of transience on abandoned constructions.
The chosen images are characterised by their ability to harbour a memory of the structure’s transcended usage before being absolved. The multi-sensory experience is greatened by the camera’s subtle explorations of the surface and patina, which detach and abstract the subject from its original context, allowing access to a more metaphorical pictorial language of abandonment, loss, transience or impermanence.'
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