Deliverance
Deliverance Installation
45 gobos, 3 moving head projectors, phosphorescent paint
Dimensions variable
Deliverance Installation
45 gobos, 3 moving head projectors, phosphorescent paint
Dimensions variable
Deliverance Installation
45 gobos, 3 moving head projectors, phosphorescent paint
Dimensions variable
Deliverance Installation
45 gobos, 3 moving head projectors, phosphorescent paint
Dimensions variable
Deliverance Daguerreotype 48
Silver-plated copper, glass, birch wood, black lambskin leather, brass, velvet
23.5cm x 14cm
Deliverance Daguerreotype 32
Silver-plated copper, glass, birch wood, black lambskin leather, brass, velvet
23.5cm x 14cm
Deliverance Daguerreotype 17
Silver-plated copper, glass, birch wood, black lambskin leather, brass, velvet
23.5cm x 14cm
Deliverance Daguerreotype 47
Silver-plated copper, glass, birch wood, black lambskin leather, brass, velvet
41.3cm x 26.7cm
Deliverance
2008
3 Moving Head Projectors, 45 Gobos, Birch Wood, Black Lambskin Leather, Brass, Glass, Phosphorescent Paint, Silver-plated Copper, Velvet
Various Dimensions
Collishaw developed a technique of projecting glass slides onto walls coated with phosphorescent paint. The images were burnt onto the walls and lingered for several minutes after each projection. He took photographs of children, either alone or carried by adults, running from the scene of some disaster.
These were based on scenes from the Beslan siege in 2004.
As the scene unfolded over several days, the media was given time to set up outside the school and broadcast a constantly updated stream of images around the world for our consumption.
It seems that witnessing humans in extreme distress stimulates our adrenalin levels. Collishaw suggests that it may be a vicarious response to the intensity of this suffering that makes us feel more alive and alert. The media exploits this, feeding us a never-ending catalogue of disaster to devour. As the last images fade on our retina a new one arrives to take its place.