|Richard Layzell – Talking to Tania 8|
12 October 2007 • Stroud
RL I don't want to lose sight of the bigger project. What are we wanting here?
TK This is about producing material that can potentially be used in The Manifestation unless I'm on a new novel. So how do current plans feed in?
TK The Perfect Image is all fine and well, but I need convincing that we could show these SVA images on our tour.
TK Hello, yes, I am receiving you. Glad to be consulted finally. Of course I don't know how the whole Manifestation will fit together but this all seems a bit safe playing to me. There are plenty of people out there toying with the photographic image, you know what I'm saying. But our perfection will be different. I see video stills as holding potential status.
RL Might be useful to sum up what's been going on with this photographic stuff.
TK Be my guest.
RL We first started talking consciously about image-making in Thailand and that was related to SVA. It was about the detail, the everyday, the perceptual focus, the re-contextualising, the elevating, the STUDIO actually as place of research, the process, the materials and materiality. In Asia it became about universality and was integrated into our dialogues. What strikes me is that it's not so much to do with photography as process.
RL If it recedes then this is more about image, still image and the dialogue. Yes, I remember now, how originally we thought we'd include the dialogue in with the photos.
RL You got inside my psyche here in Stroud and I didn't know till we were straight talking in Thailand. Like we were already doing it.
RL It's a case in point, the lens has been my screen scene not even a reflex action. This looking down and in. A stack of stuff shifting your axis.
TK Dust and detritus get me out of here. Rather swim with a cockroach than a woodlouse. Outside space coming in. You never told me the nightclub burnt down, hot stuff.
RL You get my text? Post is fucked.
TK Why not steal in a couple of images from Thailand - it was all happening at roughly the same time. Will you notice? We go global again.
RL This is hard hand writing ahead of the game. The space of hanging is a different frame. But there's another way to navigate, like stand alone fragments.
RL You chose the big ones, can I have a free hand with the postcards?
TK No point scoring, you agreed with my choice. You're not running off into full-on 'who's the control freak' now. It's not happening. Words are even, images too.
RL We need more attention. This has been the basis. Check it out. Stake a claim. Simon knew the score. Temperature readings were the first fly on the wall.
TK We were talking before and after. An opportunity for spearing in the depths. I'm OK, you're OK. My foot in your hard hat. And the builders notice(d).
TK I thought we already were. OK then: Dark warm ruffled fold-up seeks sharp pit spat on top of the world. Send photo.
TK Screw your silver side of warm exterior. This vertical slash opens up a crack in my world. Cover up quick before a stray hand stabs my sublimation.
RL The gutter bleeds success. A rash of stale spice.
TK We need to establish a pricing structure. Is this a series of individual saleable pieces or one? You onto this?
TK You need to get a black suit. You thought about the Opening? I want full representation. Go for profile.
RL I'm ready for a declaration of intent. Perfection isn't a half of it.