Trinity by Oliver Raymond Barker
Trinity is a journey into landscape. It explores the complex layers of the land and engages with histories of spirituality, protest and control.
The images originate from 20 x 24 inch paper negatives, exposed in a custom built ‘backpack’ camera obscura.
From early christian pilgrims who voyaged to remote corners of the British isles such as Rosneath during Roman times, to its current occupation as home of the UK's nuclear deterrent Trident, this remote peninsula has been the site of diverse histories.
Today, the peninsula is dominated by the presence of military bases HMNB Faslane and RNAD Coulport, the home of the UK’s nuclear deterrent Trident. Existing alongside these sprawling sites are the small, temporary constructions of itinerant activists protesting against the military presence – locations such as the Peace Wood bear traces of their occupation.
‘Raymond-Barker’s photographs function as the opposite of photographic journalism for he knows that conventional visual description does not allow for the evocative and lingering impact he seeks. His subject is the atmosphere of the place, it’s spiritual history across time, and an uneasy combination of awe in nature with the nascent threat of an unfathomable destructive force.’
Excerpt from the essay Not Negative by Martin Barnes
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Description
Trinity is a journey into landscape. It explores the complex layers of the land and engages with histories of spirituality, protest and control.
The images originate from 20 x 24 inch paper negatives, exposed in a custom built ‘backpack’ camera obscura.
From early christian pilgrims who voyaged to remote corners of the British isles such as Rosneath during Roman times, to its current occupation as home of the UK's nuclear deterrent Trident, this remote peninsula has been the site of diverse histories.
Today, the peninsula is dominated by the presence of military bases HMNB Faslane and RNAD Coulport, the home of the UK’s nuclear deterrent Trident. Existing alongside these sprawling sites are the small, temporary constructions of itinerant activists protesting against the military presence – locations such as the Peace Wood bear traces of their occupation.
‘Raymond-Barker’s photographs function as the opposite of photographic journalism for he knows that conventional visual description does not allow for the evocative and lingering impact he seeks. His subject is the atmosphere of the place, it’s spiritual history across time, and an uneasy combination of awe in nature with the nascent threat of an unfathomable destructive force.’
Excerpt from the essay Not Negative by Martin Barnes
