• The tree growing through the roofless building poses a playful question about linear time. It could be that it shows a tree growing through the space of an erstwhile roof. However it could also be possible that Tom’s Grill was never a grill business and in fact only ever a ‘frame’ for the tree inside this structure of brickwork. (Perhaps, in fact, this tree has a name and the name of this tree is: “Tom’s Grill”!)
  • One of the very first films I made was partly shot under water. Ever since then I’ve been fascinated with how water and light distorts and plays games with bodies and movement. These two images were taken when I was making Seven Ways South for Siobhan Davies Projects and were made using a disposable Fuji underwater camera. (And required me to swim under water to take them!)
  • One of the very first films I made was partly shot under water. Ever since then I’ve been fascinated with how water and light distorts and plays games with bodies and movement. These two images were taken when I was making Seven Ways South for Siobhan Davies Projects and were made using a disposable Fuji underwater camera. (And required me to swim under water to take them!)
  • Light and shadow are also very important in how we read and see movement. 
This is as true of the choreographed movement in these images.
  • I’ve included these images because they contain several elements I’m very interested in – visual repetition – how the hands echo and yet differ from each other in the photo above on the right, as well as the use of the edge of frame to play with what we see and don’t see – decentering our attention – as can be seen in the photo directly above.
  • These images are from a photo shoot for Nic Conibere’s work – Practice. The lighting, which was very simple and yet really beautiful, was created by cinematographer Ole Birkeland.
  • This is a publicity still I took for a performance called Like That, Like This by Berlin based choreographer, Litó  Walkey. 
Litó needed to create an image whilst still in the middle of making the performance and so we decided to try and find an image which indirectly referenced the piece. We went to the lake close to the rehearsal studios in Pottsdam and tried various approaches to setting up a photograph which involved movement - but none felt quite right. Something about Litó  and Carlos in the landscape wasn’t working. All of a sudden the sun began to dip in the sky and created this beautiful low-angled light. Litó  turned around to look at Carlos and I had the feeling this might be an interesting image. As it was shot on a 35mm stills camera, I had to wait for the image to be processed to know whether I was right! I’m drawn to the soft alertness in their bodies – it’s both relaxed and yet expressive and the idea of looking – both the performers’ and ours –turned out to be integral to the piece.
  • These two stills are from a dress rehearsal of Like That, Like This and are very much about bodies in motion. Some photographers specialise in, ‘stopping time’ creating images which our eyes might never have time to register. I’m always drawn to capturing and revealing inbetween moments in performance. Both these images have a clarity of direction as Litó and Carlos fall through the space of the frame. There’s also an interesting equality – each body somehow completing the other.
  • These two stills are from a dress rehearsal of Like That, Like This and are very much about bodies in motion. Some photographers specialise in, ‘stopping time’ creating images which our eyes might never have time to register. I’m always drawn to capturing and revealing inbetween moments in performance. Both these images have a clarity of direction as Litó and Carlos fall through the space of the frame. There’s also an interesting equality – each body somehow completing the other.
60 Days of Photographing Movement
18 May – 16 July 2012 ›
You are viewing: Lucy Cash's Photos.