Kieren Seymour (b. London, UK) is based in Melbourne, Australia. Since 2012, he has explored the relationship between photography, performance–video, sculpture, and drawing. In this process it has become clear that ‘the image’, specifically photography, is central to his work.
“In 2016, while preparing for an upcoming exhibition, I decided to photograph one of the drawings I had been working on. Immediately I realised that the apprehensions I was experiencing with these works were remedied through their translation into the photographic image. One step removed from the impulse of a drawing and sculpture, the photographs became a flattened version of the original gesture. Following this revelation of photography’s power to both flatten and reveal more than the original source material or gesture could alone, in 2017, in the two-person exhibition Love Job, with Dana Hoey, I exhibited four studio-based large-scale photographs of figurative assemblages. These works were constructed from mannequins and studio debris and shot under flat lighting with a standard lens. The works depict scenarios of being robbed, hoarding money, being vomited on and taking shelter from an impending force. Influenced by my research into macro economics, the images of literal violence functioned as metonyms for larger acts of structural violence flourishing today (financial, digital, political).”