Echo, 2016. Installation view
Apotheosis of Homer, National Gallery of Victoria, 2016,
hand printed chromogienic print on diabond and mild steel.
Echo, 2016. Installation view
Lethe (Greek: Λήθη)
2016, Acrylic, mild steel, stainless steel mounted in ceiling
Kremlin Museum, Moscow, 2014-2016.
Silver gelatin print mounted on aluminium.
Kremlin Museum, Moscow, 2014-2016.
Silver gelatin print mounted on aluminium
Versailles, 2014-2016.
Silver gelatin print mounted on aluminium.
Echo, 2016. Installation view
Vatican Museum 2012
Becquerel daguerreotype (triptych), acrylic, mild steel, 2016
Vatican Museum 2012-2016.
Becquerel daguerreotype (triptych I), acrylic, mild steel
Vatican Museum 2012-2016.
Becquerel daguerreotype (triptych II), acrylic, mild steel
Vatican Museum 2012-2016.
Becquerel daguerreotype (triptych III), acrylic, mild steel
Echo, 2016. Installation view.
Echo, 2016 Installation view
National Gallery of Victoria, 2016
Hand printed chromogenic print mounted on aluminium
Echo, 2016. Installation view
"In the photographed glass, we can see reflections of the imaginary world behind us, in one instance the photographer herself, and in the glass of the daguerreotypes we see reflections or the real world behind us. Echo in the sense of this exhibition, therefore has two opposing but intertwined meanings. It is both the fertile complications of reflection and reproduction, and the barren but equally suggestive absenteeism of trace and loss. Echo is equally concealing and revealing, absence and presence, amnesia and memory."
Watching for Echoes, Michelle Mountain, 2018
Echo, presented at Caves Gallery in 2016, is the first exhibition where Williams explored her ongoing interest in the word echo, a sonic means of reproduction and translation, as a metaphor for contemporary image circulation and blindness.
The exhibition brings together Becquerel daguerreotypes, silver gelatin prints and chromogenic prints that depict a series of photographic absences, in a site specific installation.
Lethe (Greek: Λήθη)
2016, Acrylic, mild steel, stainless steel mounted in ceiling
In flipping the viewer’s perspective, Williams turns our gaze upwards to CAVES’ gallery ceiling and the most remarkable part of this exhibition: an overhead installation of two large acrylic panels titled Lethe. Taking the image back towards the real, Williams recreates the glass cabinets, display cases and windows she has photographed in an installation of acrylic which mirrors the entire exhibition back on itself. Reflections within reflections circle in on each other in a replicating dance, the patterned streaks from Apotheosis of Homer are emulated in the marks left on unpolished acrylic, like water, an ethereal river running above the exhibition below. The title Lethe aptly being the Greek word for oblivion, forgetfulness or concealment, and the name of one of the five rivers of the Greek underworld.
Watching for Echoes, Michelle
Echo
12 November – 3 December 2016
Caves, Level 6, The Nicholas Building, Melbourne
Echo, 2016. Installation view
Apotheosis of Homer, National Gallery of Victoria, 2016,
hand printed chromogienic print on diabond and mild steel.
Echo, 2016. Installation view
Lethe (Greek: Λήθη)
2016, Acrylic, mild steel, stainless steel mounted in ceiling
Kremlin Museum, Moscow, 2014-2016.
Silver gelatin print mounted on aluminium.
Kremlin Museum, Moscow, 2014-2016.
Silver gelatin print mounted on aluminium
Versailles, 2014-2016.
Silver gelatin print mounted on aluminium.
Echo, 2016. Installation view
Vatican Museum 2012
Becquerel daguerreotype (triptych), acrylic, mild steel, 2016
Vatican Museum 2012-2016.
Becquerel daguerreotype (triptych I), acrylic, mild steel
Vatican Museum 2012-2016.
Becquerel daguerreotype (triptych II), acrylic, mild steel
Vatican Museum 2012-2016.
Becquerel daguerreotype (triptych III), acrylic, mild steel
Echo, 2016. Installation view.
Echo, 2016 Installation view
National Gallery of Victoria, 2016
Hand printed chromogenic print mounted on aluminium
Echo, 2016. Installation view
"In the photographed glass, we can see reflections of the imaginary world behind us, in one instance the photographer herself, and in the glass of the daguerreotypes we see reflections or the real world behind us. Echo in the sense of this exhibition, therefore has two opposing but intertwined meanings. It is both the fertile complications of reflection and reproduction, and the barren but equally suggestive absenteeism of trace and loss. Echo is equally concealing and revealing, absence and presence, amnesia and memory."
Watching for Echoes, Michelle Mountain, 2018
Echo, presented at Caves Gallery in 2016, is the first exhibition in an ongoing interest in the word echo, a sonic means of reproduction and translation, as a metaphor for contemporary image circulation and blindness. The exhibition brings together Becquerel daguerreotypes, silver gelatin prints and chromogenic prints that depict a series of photographic absences, in a site specific installation.