Oslo / Norway.
Stig Marlon Weston was born in Oslo where he is also based. He studied photography in Norway, before starting a career as professional photographer doing reportage, portraits, and themed illustration assignments. He has always been interested in the philosophical aspects of photography and alternative ways of seeing and making images, and turned his focus towards conceptually based artistic work.
By focusing on process based image making and the idea of the photograph as an independent eye, his work explores the perception of reality before our unconscious interpretation clouds the subjective experience. Weston wants to share the way the photographic processes can capture a new and truthful view of the world. Sceptical of digital manipulation he embraces a variation of analogue techniques all the way from distinct photography to alternative camera less processes and enjoys exploring the magical properties of chemicals and light in the analog darkroom.
Stig Marlon Weston has participated in both the Norwegian State Autumn Exhibition and the National Regional exhibitions as well as exhibitions in places like Berlin, London and New York, won several awards and also works as a photography curator and workshop teacher.
Looking at how we travel to look at things, these images depict how we never actually aim to reach our destination. It feels so much safer to stop just short of wherever we are heading, and then just watch. Luckily someone has always erected a fence or some railing for our safety. The physical impression of this new location might be lacking, but hey, what a wonderful view we get.
The photographs are from all over the world, made during frustrating travel experiences and wonderful trips of sightseeing.
The shadow of something, a symbol of affection and a show of love creeping up to you in your intimate space. The proof that something was there and a presence frozen in mid stride captured on photographic film as a physical mark and permanent imprint.
The photographs in this series are made as photograms, photographs made without a camera, where it is the shadow of the subjects that leaves it's mark on the analogue film. The image is made of the house pet on it's owners bed, waiting for a sign of mutual affection, or things left in the bed after a long night.
Papirarbeider / Works on Paper
The visual love triangle between viewer, media and subject is explored in a photographic installation based on the interaction between light/shadow, reality and representation.
Made only as photographs of white paper, symbolising the middle ground between potential and inertia, the images as made as overlapping collage prints where reality and depiction overlap and flow into each other. The viewer gets to choose between looking with a paralysed stare or actively defining the borders of the photographic truth.
Installation collages are made up of analogue photographic black and white prints mounted directly on a backing board or as reproduction prints of the original installation.