slash  |  line  |  bloom  |  fuzz  |  time



Chris Marks-Billson’s photographs attempt to challenge our perception of the horizon and to subvert the tradition of the seascape in painting and photography. By eliminating most of the references that point to the traditional seascape, he reduces it to the horizon line itself, thus fixing it, as he reflects, ‘in its simplest manifestation, as a line; hopefully removing the more obvious connotations and enabling a renewed appreciation’.

Working towards making concrete sense of the horizon’s intangible nature, he draws upon formal similarities to the minimalist tradition of sculpture and painting by treating the image as an object, as a tangible part of reality, which he handles and rearranges in the white empty space of his digitally generated canvas. At the same time, this gesture of his implies that the horizon line functions as a separation line at two levels of meaning; at a phenomenological level, between the sea and sky, as optically perceived, and at a semiotic level, between the indexicality of the photograph of the manipulated horizon and the pictorial emptiness of the white graphic space that surrounds it.

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