Lisa Barnard’s photographic practice is placed in the genre of documentary. Her work discusses real events, embracing complex and innovative visual strategies that utilise both traditional documentary techniques with more contemporary and conceptually rigorous forms of representation. She connects her interest in aesthetics, current photographic debates around materiality and the existing political climate. Of particular interest to her is Global Capitalism, the relationship between the military industrial complex, screen based new technologies and the psychological implication of conflict.
She has three monographs two with GOST, Chateau Despair and Hyenas of the Battlefield, Machines in the Garden. The Hyenas publication was funded by the Albert Renger Patzsche Book Award, and nominated for the Prix Du Livre at Rencontres D’Arles in 2015. Her new publication – The Canary and the Hammer – was published by MACK.
Project Page: http://www.thegolddepository.com/ (Highly recommended!)
The project as a whole is a response to the financial crisis of 2008 and its exposure of the western world’s determination to accumulate wealth. Like the ‘canary’ taken into the mine, gold is the gauge by which we monitor our environment; the hammer the tool that smashes the structures to which it is embedded. Gold provides a prism through which globalism can be refracted and each topic represents a different strand, underpinned by a peculiar act of faith in its value. Ultimately, gold – mysterious, powerful, singular – is a material substance that fuses together these different versions of striving for knowledge, beauty, wealth and inordinate power.
Lisa Barnard (⇒)