lost sites #1
digital C-print, 20 x 24 inches; 2004

lost sites #2
digital C-print, 20 x 24 inches; 2004

lost sites #3
digital C-print, 20 x 24 inches; 2004

lost sites #4
digital C-print, 20 x 24 inches; 2004

location shots (Loch Lomond)
digital C-print, 30 x 40 inches; 2006

location shots (Admiralty Arch)
digital C-print, 30 x 40 inches; ongoing

location shots (Bridge of Sighs)
digital C-print, 30 x 40 inches; ongoing

location shots (Marble Arch)
digital C-print, 30 x 40 inches; ongoing

location shots (St. Paul's)
digital C-print, 30 x 40 inches; ongoing

location shots (The Alamo)
digital C-print, 30 x 40 inches; ongoing

location shots (Grand Canyon)
digital C-print, 30 x 40 inches; ongoing

location shots (Memorial Fountain)
digital C-print, 30 x 40 inches; ongoing

location shots (Millennium Bridge)
digital C-print, 30 x 40 inches; ongoing

location shots (Ground Zero)
digital C-print, 30 x 40 inches; ongoing

location shots (Hill)
digital C-print, 30 x 40 inches; ongoing

location shots (Gainsford Street)
digital C-print, 30 x 40 inches; ongoing

location shots (Wellington Arch)
digital C-print, 30 x 40 inches; ongoing

location shots (Times Square)
digital C-print, 30 x 40 inches; ongoing

location shots (Roosevelt)
digital C-print, 30 x 40 inches; ongoing

location shots (Grief is the price we pay for Love)
digital C-print, 30 x 40 inches; ongoing

location shots (Sky City)
digital C-print, 30 x 40 inches; 2004

Plaques, Historical Markers, Notices - signs of evidence of note and significance. As is often the case, sometimes there is nothing actually to see - the sign itself becomes the reason to stop, look, take a picture and move on. From battles, births, deaths and inconsequential happenings inbetween, the visitor is asked to mentally reconstruct the events that happened at these locations.

Part of an ongoing project investigating the making of the feature film 'The Lost', the Lost Sites series uses images of such signs, seen through the lens of a documentarian.

The sub-titled 'voiceover' on each image gives the viewer a context in which to view each site. But where is the truth presented in this 'documentary' being derived from? These locations' cultural significance? Or the framework in which they are presented? As the relationship between the textual informing the pictorial begins to blur, so our own understanding of what is real and what is constructed is called into question.

Credits

Cast

Stine Gonsholt
Systa Gunnarsdottir
Arildh Mehn-Andersen
Jill Wood
& Katharine Wilson


including music by

Bedroom Walls
Very Large Array
ERH

Filmed on location in Iceland


Written & Directed by
Duncan Ganley

Reviews

"A plot worth taking in, from start to finish"

Douglas Britt - Houston Chronicle

"...posing the rhetorical question of who is behind the camera"

Nicholas Kersulis - Artlies

"A taut study in withholding catharsis or conclusion"

Christopher French - Art Papers