In OVERSHARE, I examined, through idiosyncratic and site-specific installation, the narrative potentials of snapshots paired and sequenced, divorced from chronology and original context (date, location, text messages). My photographic practice often intersects with my literary works. Beyond the app sharing of images, I have emphasized the device as object vividly imprinted with lived experience. It is diary, photo album, love letter; it is an archive unlike any other before it. My fascination with the cell phone is tied to my attachment to it, and what it revealed to us about living as observers of experience. Phones are now, for most in developed countries, primary and constant tool of photography, their cameras are ubiquitous. Without inherent per-image cost and given their instantaneous nature, we shoot first and ask questions later, picture-taking is faster and more voluminous than ever before, data unruly and unchecked by the seemingly limitless cloud. Media-sharing platforms allow for elevated narrative arrangement of day-to-day banality, we watch each other, we watch our watchers watching. While the autobiographical is the foundation of my practice, in my work the art is in the edit. It is essential that ambiguity and pluralities exist within a work, and while heavy with content, it should not explain itself, I make room for the viewer, creating layers of access through my choice of device, material, familiar image and installation techniques.
Narrative and dark humour are at the core of my photographic practice, since 2015 preoccupied with sequences, pairings and punchlines. With a cell phone, my work has become instinctual and reflexive in the taking, the editing of sequence is delayed, ruminative and determinedly undetermined, a process in distinct parts. My website is where I play with time and space, measuring the reading of my images and words, expanding a pause or removing the breath between images. multiple meanings are created through openness of arrangement, rearrangement, pattern recognition, and matching. In text and multimedia I irreverently reference technology, and combine pop culture and personal history. I make use of contemporary image conventions and clichés, speaking this image language so that I may play with its words.
Julia Martin currently lives and works in Ottawa, Canada. She completed a Master of Fine Art from the University of Ottawa and a Bachelor of Fine Arts in Photography Studies from the Ryerson University School of the Image Arts in Toronto. Her work has been exhibited in Gatineau, Guelph, Ottawa, Toronto, and Finland. Martin has guest lectured in photo-related classes and lead an artist book-making workshop at the University of Ottawa, as well as participated in residencies in Finland and France. This is her first exhibition with Colborne Street Gallery, Fenelon Falls.
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