These analogue 35mm stills mostly document my material-gathering trips and ever-changing studio, punctuated by snapshots of sea. Captured with vintage cameras & lenses (and often my father’s 1984 Canon AV1) these unedited images are an important aspect of my practice. Over exposed, or taken with expired film, these images document small moments, that – when taken together – describe not only how I work and where my ideas come from, but also the flea-markets and antique fairs from where I source my surfaces.
Using out-of-date film means Cass never can be sure what will come of his images – colours bleed, fade – and working with aged and damaged cameras means light leaks, lenses are scratched, mechanisms might prove unreliable at critical moments. These textures, artefacts, expected but unpredictable, anchor the scene (the seen) in the everyday, the ordinariness of life.
These new photographs on old film effect a curious folding of time. They have a quality of age, so that today looks like a postcard from years before. As David’s paintings enact an encounter of solid things, lodged in time and place, with endlessness and timelessness – the momentary glimpses of memory, the seascapes’ unending motion, represented on particular objects with particular histories – so the camera’s lens opens, and now is captured on film that dates from then.
There is a motif of journeying and standing still, represented in a number of David’s photographs ... of the warm interior of the studio, objects slant-lit, gathered in their taxonomies, bundled, piled, and at rest.