Paul Ferman: Excavare

Overview

The discovery of the ancient cities of Ercolano and Pompeii continues to hold a great deal of fascination, particularly for photographer, Paul Ferman. In his latest offering, he captures the unique architectural designs of these formerly forgotten cities, ravaged by the eruption of Mount Vesuvius in 79AD. His series, Excavare, is an artistic project of excavation and conservation.

That said, there is also a curious coagulation of ancient and modern in this exhibition. Ferman's use of multiple exposures generates a temporal fluidity and historical instability that queries notions of how memory is preserved and manipulated over time. Almost immediately it also becomes apparent that the glassy surfaces of Ferman's photographs reflect the relentless stream of William Street traffic. This notion of bringing the outside world into the gallery space can be perceived as an additional photographic layer that is in constant flux.

In various works, the cracked facades of Italian ruins are overlaid by the day-to-day bustle of tourists and the modern streetscape. The less-than-magnificent architecture of contemporary Northern Italy, such as towering apartment complexes, is juxtaposed with the grand mosaics and facades of the old world. This has the effect of dislodging them from their timelessness. In this way, Ferman draws an architectural trajectory of Italian urbanism.

There is an arresting beauty that stems from the multitude of perspectives. For example, Excavare #247 reveals a softly lit, sombre interior. However, Ferman's layering creates an impression of structural instability. With columns sloping inward, it is as if the entire shadowy space has been pivoted on its axis. This fluidity of stone planes creates a dreamy depth. Ferman then invites the viewer to wade through the fog of potential memories and architectures and imaginatively reconstruct the place.

In Excavare #245, Ferman captures an infamous section of the Pompeii forum. Stretching the entire length of the photograph, its impending columns pierce the bright sky. The faint, overlapping mosaic has the effect of fleshing out the ancient skeletal structure, conveying a feeling of reminiscence. It is as though Ferman is attempting to restore the forum's former glory by projecting the preserved interior of one structure onto another.

The natural environment is also brought forward, infusing the lifeless ruins with an ecological richness and vitality. This is most apparent in Ferman's largest photograph, Excavare #242, in which the structure is framed by shimmering, fast-flowing water and lush ferns. There is also a mesmeric quality to the aqua blue that recurs throughout the series, its infectious intensity seems to really lift the photographs.

Throughout Excavare, there is a cumulative sense of reviving and re-making memories. It is important to remember that the archaeological investigation of these enigmatic cities and their unfortunate inhabitants is an ongoing operation. Paul Ferman's photography reminds us of how much remains unclear, communicating the idea that history is unfixed.