Ingrid Jensen writes: The Brownie 127 interested me more as an object than as a means of taking photographs. An intriguing Cash's nametape that was dangling, partly still stitched to the camera case, led me into a seductive information hunt to find out more about the original owner of the camera. This yielded much more than I expected, and suddenly I felt like a spy or a stalker. So my project shifted towards issues of privacy. Small inconsequential pieces of information can reveal much about a person and their family, and digital technology tempts us into areas of privacy and ethics in ways that were unthinkable in the Brownie 127 era.
Ingrid Jensenís photographs sometimes involve intermediate steps such as another camera and a projector, and in one case taking a photograph of an appropriated photo. Images will be combined into a 3-D work as translucent layers on vertical sheets of perspex sliding in grooves on a horizontal wooden baseplate, allowing the viewer to change both alignment and overlap. Text and image will be anonymised to protect the original camera-owners's privacy.
Ingrid Jensen, Nametag (2015)
Ingrid Jensen, Intentions (2015)
Ingrid Jensen, More than expected (2015)
Ingrid Jensen, Appropriated image, with apologies (2015)
Ingrid Jensen is caught between the pursuit of understanding, the temptation to make things happen, a stream of ideas, and the lure of materiality. Drawing, sculpture, installation and interactive events are linked by photography. She has studied and worked in the US, Canada and UK as an artist, biologist, curator and teacher, and has an MA (Fine Art) from Central Saint Martins. She exhibits in the UK and overseas, has work in various collections, and is chair of OpenHand OpenSpace studios.