‘Tobias Buche’s work seems to me the most interesting of the quartet. Sharing the second room of the gallery with Campbell’s wall-mural ghetto blaster, his contribution consists of four chipboards of scrappy found images, mixed with his own photos. Mainly black-and-white and printed on paper, the images seem like remainders, concerned less with depicting something than in marking a moment, or perhaps pressing a button. The stress is on portraiture, but applied from the side: individual subjects tend to be off-guard and unbalanced, going somewhere, involved in other things, lacking a clear or direct relationship to the camera. A leg comes through a ceiling in one case, in another, a man face down on a desk bears a cheek covered in pen scrawls. Elsewhere, more surreal and political and satirical images jostle, pursuing some cause of elusive significance in a world of contingent and tattered connections.
Buche’s low-key presentation recalls Wolfgang Tillmans, but is less sentimental, and I think less contrived. Whereas Tillmans retains the figure of the heroic photographer, recording the vanishing summer of a still-meaningful world, Buche’s agenda is colder, more realist, and in some ways, more moving.’
Although this writing by Daniel Miller is not relevant specifically to these photographs, I find it useful it exploring his work.
I am particularly interesting in the installation of this work as I intend to do an installation consisting of three vertical rectangular clear acrylic or perpect sheets on which fragments of my prints will be arranged. Some of which, at certain view points, match up to create a whole, and others which fail to do so – but are images in their own right and can strongly stand alone. It will encourage the viewer to interact and move around the piece – being able to view it from many different angles and perspectives. I feel like this will allow the expansion of the images, as my work is largely about expanding and blowing up, going inside a form and looking through. Experiencing it through a ‘gaseous perception’.