Richard Ansett

Preparing Magpie Polaroid for drop

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

Google map of drop site

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

 

Location documentation of polaroid drop

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

 

 

 

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

© Richard Ansett

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity

Standing by the drop point I ask an unknowing passerby to photograph the moment © Unknow

One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret never to be told.

In common British folkloric tradition, the Magpie is considered a thief and the single bird a harbinger of doom to be given the upmost respect. To salute the Magpie is an acknowledgement of its power and a superstitious antidote to any ill omen but further it is acknowledgement of our past and future trauma.

In my general practice I have always explored the foundations of personality architecture through my auto-biographical observation of others. In this moment of personal anxiety and loss following the end of a relationship, the single Magpie appeared to me many times. The previously feared single bird associated with curse and disaster became a companion of my grief and empathic visitor; an embodiment of my state of mind. I photographed many magpies as distant friends in the landscape at that time recognising that my mind in its trauma sort refuge heightening my awareness to allegories of pain. I became fixated on the bird as both omen and empathic metaphor, I contacted a taxidermist to prepare a dead bird for a tableau as tribute for the support offered to me at this difficult time, before that photographing the dead bird on multiple 669 Polaroids.

Since then I continue to acknowledge the Magpie’s value as an ’empathic visitor’ by returning the polaroids to random landscapes with the hope that these facsimiles offer empathy at a moment of suffering to a stranger. These images are the visual documentation of one such drop in an entrance to a bridge on an estate outside Amsterdam.

One For Sorrow is a discussion of the shifting perception of our shared public space through the creation of a new landscape infected with the feelings of its current observer.

This is broader enquiry into how the camera records our engagement with that distorted reality forming our unique voice. I argue that to function in modern society requires a rationalisation of reality to survive. We imbue the world with self-made realities; consciously and sub-consciously filtering threats to this self-created world. To maintain sanity and for our survival in an increasingly complex world we have little choice but to withdraw into a self-selecting relationship to the universe that substantiates rather than challenges our worldview.

The shared experience, otherwise known as society or community, is held together by a tenuous assumed convention that we perceive in the same way, I suggest that we may not but it allows non-conflict interactions between otherwise entirely disparate personalities. At moments of personal crisis these conventions as structures previously providing safety become fragile and can fall away leaving us exposed in an unrecognisable and alien environment. At this moment we reach out in fear and panic as we navigate the world seemingly for the first time.

The existential interest runs in parallel to the personal connection to the bird as an example of the complex and shifting relationship we have to the space we inhabit. Forces within and outside of our awareness are survival constructs created to function in society distorting perception of reality. Whilst we cannot be entirely conscious of these shifting forces we can have the awareness that they are occurring. It is a consciousness of that which is beyond consciousness. See Facuity