Smoke and Mirrors. Pretentiousness at its worst.

Silent, Empty, Waiting for the Day

Mary McIntyre

Belfast Exposed
Opening Thursday 1st September 2011 7-9pm.
2 September to 14 October

Being a graduate from photography and film I was terribly excited to review my first photography exhibition. ‘Belfast Exposed’ a gallery which specialises within the field of photography. I was enthusiastic to fall back into a field I know about, a form of art I studied, honed and had my own opinions, preferences and hates nailed down. The gallery itself is a marvellous space, the smell, the light, exposed pipes and masses of empty space to play with. What I found today decided to abort this space.

Mary McIntyre is a photographer, fine artist and lecturer specialising in lens based and time based practices. After viewing her website I was motivated, expected to be lost in a world of her over romanticised large format prints. Unfortunately what I found was not the case. The first thing I noticed, after viewing the work online, was how this gallery, the layout, the prints something which I still can’t put my finger on, underwhelmed McIntyre’s work. I was wanted to be able to step into these prints. Get lost in her worlds. Yet not once did I feel myself being punctured by the work. Yes I’m stealing the studium and punctum theory, simply because it makes sense. PRAISE ROLAND BARTHES! I digress.

The work itself was a series of suburban culture, silent areas, looking  at the abandoned spaces. Supposedly luring the viewer in. The weirdest and yes I shall use the word weird was the fact that part of the exhibition was a raised platform, this raised floor which suspiciously at first view seems like Belfast exposed was installing a disabled ramp. Not the desired effect I’m guessing. This ‘raised floor’ in theory supposed to add to the work, and I quote ‘where the act of viewing (the visual works) is performed.’ When I think something is pretentiously pointless, it must be ridiculous. It was pointless. It didn’t add. It didn’t inspire me. To be honest, truly honest, I didn’t understand it; I found it a desperate attempt to add another level to the work. 

The photographs themselves were technically perfect. Not a flaw….technically of course.  Unfortunately coming from a photography degree, I have seen this. Abandoned spaces are first and unfortunately second year material. Reminds me of going to class critiques and always out of a group of 20 at least 8 people pushing the idea of an abandoned building. A lost world! What was it? What it could be? Where is everyone? Silly, uncreative students trying to fabricate and idea out of noting.  If you want to focus on neglected spaces: 1. Make it aesthetically stunning, so the viewer doesn’t realise how boring it is 2. Make the meaning behind it so strong it can hold up the foundations your crumbling photographs. The fact that she teaches Photography and hasn’t picked up on this is baffling to me.

McIntyre’s work consists of six pieces. Two of a quiet watery forest area, noting to grab your attention simple skimming material, 3 of a garden fence broken in a variety of stages, brings on thoughts of a post- apocalyptic world, zombie-esq films shot in high definition. But the last, standing along on the back wall has a beauty, a lost loneliness. A silhouette of a man looking out a window with binoculars, simple, beautifully lit and finally allowed me to get lost in the image which I craved. I find it strange such a talented woman needed to create that ridiculous installation/ disabled floor ramp. Or included the most unappealing images in her collections (I encourage you to look at her beautiful work on her website which is a world away from this tedious collection). I’m unsure what happened here….I still and always will love McIntyre’s work, but now, unfortunately, I respect her a little less for all the smoke and mirrors.

 The one image I adore.