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Steven Pippin
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Steven Pippin
Steven Pippin (born 1960 at Redhill, Surrey) is an English photographer and installation artist. Pippin works with converted or improvised photographic equipment and kinetic sculptures which are often based on physical models and are metaphors for social mechanisms.
Pippin's work shows a strong interest in the mechanical, which he has said stems from an early childhood memory of seeing his father surrounded by the wires and tubes of a television set he was repairing.
He studied mechanical engineering at Charles Keen College, Leicester; Foundation Art & Design at Loughborough College, Leicestershire; Fine Art Sculpture at Brighton Polytechnic and Fine Art Sculpture at Chelsea School of Art, London
During his student days he was selected for the DAAD scholarship (German Academic Exchange Service)
From the beginning of his career his works focused on creating atmospheric photographs by converting every day object into provisional pin hole cameras. Later his photography became closer to science after making peace with this type of disciplines.
I hated it because my father and grandfather were engineers... I've gone back to technology now, but for a long time I didn't touch it; I blocked it. I tried making gears out of cardboard when I already had the knowledge to machine the parts!
Pippin's early work was based on converting furniture and everyday objects into makeshift pinhole cameras which he then used to take sympathetic photographs. Sympathetic photography, as seen through photographer Allan Sekula (1951–2013) using photography not only for an aesthetic purpose but as a tool to show injustices and bodily suffering.
His work often involves a significant amount of planning to overcome the practical problems posed by the chosen object. Pippin typically has to plan and construct a significant amount of supporting equipment to achieve his pictures. Frequently the resulting photographs are distorted or otherwise compromised by the manner of their construction, but the imperfections are seen as an important characteristic of the image, giving a link back to the object which was used as a camera. The photographs are always shown alongside an image of the converted object, and for later works, much of the actual equipment used in the conversion along with supporting documentation.
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Steven Pippin
Steven Pippin (born 1960 at Redhill, Surrey) is an English photographer and installation artist. Pippin works with converted or improvised photographic equipment and kinetic sculptures which are often based on physical models and are metaphors for social mechanisms.
Pippin's work shows a strong interest in the mechanical, which he has said stems from an early childhood memory of seeing his father surrounded by the wires and tubes of a television set he was repairing.
He studied mechanical engineering at Charles Keen College, Leicester; Foundation Art & Design at Loughborough College, Leicestershire; Fine Art Sculpture at Brighton Polytechnic and Fine Art Sculpture at Chelsea School of Art, London
During his student days he was selected for the DAAD scholarship (German Academic Exchange Service)
From the beginning of his career his works focused on creating atmospheric photographs by converting every day object into provisional pin hole cameras. Later his photography became closer to science after making peace with this type of disciplines.
I hated it because my father and grandfather were engineers... I've gone back to technology now, but for a long time I didn't touch it; I blocked it. I tried making gears out of cardboard when I already had the knowledge to machine the parts!
Pippin's early work was based on converting furniture and everyday objects into makeshift pinhole cameras which he then used to take sympathetic photographs. Sympathetic photography, as seen through photographer Allan Sekula (1951–2013) using photography not only for an aesthetic purpose but as a tool to show injustices and bodily suffering.
His work often involves a significant amount of planning to overcome the practical problems posed by the chosen object. Pippin typically has to plan and construct a significant amount of supporting equipment to achieve his pictures. Frequently the resulting photographs are distorted or otherwise compromised by the manner of their construction, but the imperfections are seen as an important characteristic of the image, giving a link back to the object which was used as a camera. The photographs are always shown alongside an image of the converted object, and for later works, much of the actual equipment used in the conversion along with supporting documentation.