{"id":37828,"date":"2016-09-20T12:37:47","date_gmt":"2016-09-20T10:37:47","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=37828"},"modified":"2016-09-20T12:37:47","modified_gmt":"2016-09-20T10:37:47","slug":"felicity-hammond","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/felicity-hammond\/","title":{"rendered":"One To Watch: Felicity Hammond"},"content":{"rendered":"

 <\/p>\n

\"Felicity Felicity Hammond. Photographs by Hana Knizova<\/p>\n

Photographer Felicity Hammond questions the values of art, architecture and society through installations about industrial decay, in a interview taken from SLEEK 51<\/a><\/h2>\n

 
\nHammond\u2019s practice reflects\u00a0the increasingly conceptual bent\u00a0of contemporary photography. Her installations\u00a0of images taken from real life\u00a0are juxtaposed with sculptures and performances,\u00a0challenging photography\u2019s\u00a0claim to truthfulness. Having graduated\u00a0from the Royal College of Art in 2014,\u00a0the native Londoner\u2019s mixed media\u00a0work quickly gained attention. This year\u00a0she won the British Journal of Photography\u2019s\u00a0annual prize, and was part of \u201cThe\u00a0Language of Living\u201d, a performance\u00a0staged in Tate Modern\u2019s Turbine Hall. \u201cI\u00a0was always encouraged to push my techniques\u00a0in terms of what photography\u00a0can be and examine the boundaries of\u00a0it,\u201d she says prior to her group show at\u00a0Berlin\u2019s House of Egorn this September.\u00a0\u201cDirect to media printing-techniques\u00a0allow me to print on lots of different\u00a0surfaces, pushing my practice towards\u00a0to the sculptural.\u201d
\nEarly in her career, Hammond was fascinated\u00a0by the virtual worlds created\u00a0through commercial architectural rendering.\u00a0\u201cAt first glance, these images of\u00a0luxury living spaces have this kind of\u00a0sleekness to them,\u201d she says, \u201cbut when\u00a0you really inspect them, they start to\u00a0really break down; the perspective is\u00a0wrong, and it\u2019s all warped. They are false\u00a0promises: seemingly photographs, but\u00a0they\u2019re not.\u201d This interest in physical\u00a0space later expanded to other practices\u00a0outside photography. Today, her work\u00a0also employs the aesthetics of building\u00a0sites, retail spaces, and advertising, as she\u00a0investigates the ways in which photography\u00a0represents the world while reifying\u00a0certain values: her immersive dioramas\u00a0embody aspirational consumerist luxury\u00a0as an actual spatial experience.
\n <\/p>\n

“As soon as photographers start working\u00a0in other mediums, people question why\u00a0you\u2019re not using the camera.”<\/p><\/blockquote>\n

 <\/p>\n

\"Felicity Felicity Hammond. Capital Growth, 2015<\/p>\n

 
\nFor Hammond, the deceptiveness of\u00a0these digital, 3D mock-ups of buildings\u00a0reflects the ideological nature of images,\u00a0and she wishes it received greater\u00a0attention and theorisation \u2013 something\u00a0her work seeks to stimulate. \u201cThese\u00a0\u2018non-photographs\u2019 promise us this better\u00a0life through regeneration, which actually\u00a0isn\u2019t true, because these designs\u00a0are rarely made for the people in the\u00a0area,\u201d she says. \u201cThey\u2019re also constructing\u00a0a city before it\u2019s even been built, and\u00a0that\u2019s what\u2019s really interesting to me.\u201d
\nThese issues aren\u2019t foreign to Hammond.\u00a0She comes from a family of factory workers\u00a0from East London, an area currently\u00a0subject to aggressive gentrification, and\u00a0there is a discernable biographical element\u00a0in her work. For example, \u201cRestore\u00a0to Factory Settings\u201d an installation from\u00a02014 featuring blue images of derelict\u00a0industrial spaces, examines the dismemberment\u00a0of urban industrial landscapes\u00a0and their social histories. \u201cIt was really\u00a0more about loss for me than to be a political\u00a0piece,\u201d she explains. \u201cI associated\u00a0it much more with the relationship with\u00a0my dad, I obviously discovered that it\u2019s\u00a0a global issue.\u201d
\nHammond has also been researching the\u00a0utopian ambitions of architects and theorists\u00a0from the 1960s, who believed in\u00a0the radical potential of building design.\u00a0\u201cWhen did we cease trying to progress\u00a0through architecture?\u201d she asks. \u201cIn\u00a0his book \u2018Last Futures\u2019, Douglas Murphy\u00a0suggests that we stopped looking\u00a0outwards as soon as the virtual world\u00a0emerged \u2013 cyberspace as opposed to outer\u00a0space. For me, the current intangibility\u00a0of image-making feeds into that idea.\u201d
\n <\/p>\n

\u201cPhotography has historically always\u00a0had this kind of slight separation from\u00a0the rest of the art world\u201d<\/p><\/blockquote>\n

 <\/p>\n

\"Felicity Felicity Hammond. Stone Effect, from the Language of Living, 2016<\/p>\n

 
\nInnovative instances of affordable and\u00a0social housing seem few and far between in the UK, and this is precisely why\u00a0Hammond\u2019s work is so urgent. By deconstructing\u00a0the values of commercial\u00a0architecture and its assumed objectivity,\u00a0she\u2019s clearing a way for a dialogue\u00a0about the way in which we live together.\u00a0Moreover, her mixed media installations\u00a0are also challenging the subordination\u00a0of photography to traditional aesthetic\u00a0forms. At House of Egorn, Hammond\u00a0is showing her coalesced image-sculptures\u00a0alongside fellow sculptors and\u00a0painters \u2013 while at Amsterdam\u2019s renowned\u00a0photo-fair Unseen, she is producing\u00a0new work through the annual\u00a0ING commission within the framework\u00a0of photography.
\n\u201cPhotography has historically always\u00a0had this kind of slight separation from\u00a0the rest of the art world,\u201d she laughs. \u201cYou\u00a0would never say to a painter \u2018Oh, you\u2019re\u00a0not making paintings, that\u2019s strange\u2019. But\u00a0as soon as photographers start working\u00a0in other mediums, people question why\u00a0you\u2019re not using the camera. I feel like a\u00a0constant fraud!\u201d Does Hammond consider\u00a0herself a photographer nonetheless?\u00a0\u201cMy practice is still rooted in photography,\u201d\u00a0she concludes after some thought.\u00a0\u201cAs long as I\u2019m concerned with the impact\u00a0of images and its environment, then\u00a0I think I\u2019m always going to be, I suppose,\u00a0a photographer!\u201d<\/p>\n

\"Felicity Felicity Hammond,Restore to Factory Settings Press Print<\/p>\n

 
\n\u201cThe Bullet Returns to Where the Shot was Fired\u201d,\u00a0a group exhibition featuring Felicity Hammond,\u00a0Patrick Goddard, Mia Goyette and Hyojun Hyun,\u00a0runs from 17 September to 22 October 2016\u00a0at the House of Egorn, Sch\u00f6neberger Ufer 51,\u00a010785 Berlin<\/strong> \nPortrait Hana Knizova<\/a><\/strong> \n <\/p>","protected":false},"excerpt":{"rendered":"

Photographer Felicity Hammond questions the values of art, architecture and society through installations about industrial decay<\/p>","protected":false},"author":1,"featured_media":37884,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[11856,139],"tags":[1071,38,5844,5845,5846,5847,141,65,5848,5849,4932],"class_list":["post-37828","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sleek-art","category-art","tag-architecture","tag-art","tag-felicity-hammond","tag-hana-knizova","tag-industrial-decay","tag-installations","tag-london","tag-photographer","tag-society","tag-the-bullet-returns-to-where-the-shot-was-fired","tag-uk"],"acf":{"main_category":null,"legacy":"1","exclude_from_ads":null,"hero_title":null,"subtitle":null,"hero":null,"teasers":null,"facebook_image":null,"related_articles":null,"next_article":null,"sleek_card_focus":null,"content":null},"yoast_head":"\nOne To Watch: Felicity Hammond One To Watch: Felicity Hammond<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/felicity-hammond\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"One To Watch: Felicity Hammond One To Watch: Felicity Hammond\" \/>\n<meta property=\"og:description\" content=\"Photographer Felicity Hammond questions the values of art, architecture and society through installations about industrial decay\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/felicity-hammond\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-09-20T10:37:47+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"sleek\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"4\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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