BeckyGee;Art.

Attic Photography Exterior

Attic Photography Interior

So it’s the end of an era, I’m leaving the place that I’ve called home for the last two years. There’s no way I can leave without documenting it. There’s a consideration of something romantic about living in an attic, something beautiful.

These are photographs are of the interior of the flat with particular reference to the window and the sloping ceiling. 

"The Fire Series" (2011)

[Photography series displayed on railway sleepers]

This Is How You Stand Correctly, University of Huddersfield 2012 Degree Show
Vyner Street Gallery, East London, 31st July - 5th August

"Forever Twirling With You" (2012)
[Photography series]
This Is How You Stand Correctly, University of Huddersfield 2012 Degree ShowVyner Street Gallery, East London: 31st July - 5th August.

"Forever Twirling With You" (2012)

[Photography series]

This Is How You Stand Correctly, University of Huddersfield 2012 Degree Show
Vyner Street Gallery, East London: 31st July - 5th August.

"Shift" (2012)

[Installation; film, sleepers, neon]
This Is How You Stand Correctly - University of Huddersfield, Contemporary Art Degree Show 2012

"Traces" (2012)

[light box imagery]
This Is How You Stand Correctly - University of Huddersfield, Contemporary Art Degree Show 2012

Becky Gee
Positioning Statement May 2012

Over the last few months there has been an obvious discovery of a new lead – the place of return. Looking at the journey as though a method of repetitive print I have begun to realise a pin point in space and place that all lines are drawn from and to. While nodding towards past explorations of fictive worlds and a wondrously lit aesthetic the focus has become grounded, transfixed on the singular place and what secrets this place may bare. Referring to the home and the hearth the extensive experimentation and research has produced a series of photographic representations of hand-made slides and etchings exploring the warm haze of the home, a cluster of light boxes which speak about the past whilst celebrating the present, domestic photography which has been transformed into non-digital edits and a duo of print on fabric, sound narrating horrific experiences of travel and an installation which exists as a hybrid of textiles, found elements and film.

The exhibited work, the place of limbo where one is not sure what is real and what is merely thought is in short a representation of not just the previously mentioned pin point but of the reasons why it is a life staple. The suspended bed sheets tie the piece to its place of origin while in the placement of celebratory flags keeps the visual from appearing too obvious, embellished with text and image they suggest found phrases in different, more human contexts outlining the fragility of life and what lack of could make of a place. The railway sleepers which run down the wall and along the floor in a train track fashion contradict the textile elements through their physical stability while making reference to past installations through the use of industrial materials to represent fictive matter.
 With reference to reoccurring journey the film series allows the viewer to travel from one place to another creating an involvement in otherwise alien spaces. Spaces such as the home and the hearth, exterior domesticity and the abandoned flicker in and out of the trance-like forward motion almost like flickers of memory or thought. Once viewed along-side each other opposed to as separate films a sense of absence appears within the two, along with a sinister presence that seems to taint the warmth of the gathering. The odd jittery movement of the stationary adds an unease to the visual, an ugliness that is only noticed when something is missing. The film is silent, as though to be viewed in secret, a dark surprise to the viewer when they stumble into its path.

The light boxes displayed in the space show family photographs of two certain people, they are layered with one of the subjects handwriting and framed by the work of his hand. Although it is partly a celebration of life there is also an odd presence in the pieces, something that exists exterior to the scene rather than part of it, a visual of the dark sinking of the stomach when one experiences worry or guilt.

The space of both the polarities of the actual and the imaginary is in conclusion a portrait of the place of return whist instead of the almost unreal glow that appears in other works there is an odd sensation of foreboding as though if all were truly revealed then there would be a darker revelation within the warmth and prosperity of the home.



Shift (2012) With reference to reoccurring journey and the place of return the film series allows the viewer to travel from one place to another creating an involvement in otherwise alien spaces. Spaces such as the home and the hearth, exterior domesticity and the abandoned flicker in and out of the trance-like forward motion almost like flickers of memory or thought. Once viewed along-side each other opposed to as separate films a sense of absence appears within the two, along with a sinister presence that seems to taint the warmth of the gathering. The odd jittery movement of the stationary adds an unease to the visual, an ugliness that is only noticed when something is missing. The film is silent, as though to be viewed in secret, a dark surprise to the viewer when they stumble into its path.  

Shift (2012)

With reference to reoccurring journey and the place of return the film series allows the viewer to travel from one place to another creating an involvement in otherwise alien spaces. Spaces such as the home and the hearth, exterior domesticity and the abandoned flicker in and out of the trance-like forward motion almost like flickers of memory or thought. Once viewed along-side each other opposed to as separate films a sense of absence appears within the two, along with a sinister presence that seems to taint the warmth of the gathering. The odd jittery movement of the stationary adds an unease to the visual, an ugliness that is only noticed when something is missing. The film is silent, as though to be viewed in secret, a dark surprise to the viewer when they stumble into its path.  

Becky Gee - “Shift” (2012)

Becky Gee - “Shift” (2012)