Disposable proposes to bring together twelve artists who are simply linked by being sent throwaway cameras, with the subsequent results being the basis of the exhibitions to take place in the Ramp Gallery for 2001 and is a light treatment of putting together a show. This is not an attempt to produce a New Zealand art Super 12, instead it is an art exchange - we (Ramp Gallery) supply camera, print and processing, while the artists are asked to respond instantaneously (time-frame of the show and type of camera) to the general premise of Disposable.
In keeping with the pre-packaged/uniform nature of the cameras we also envisage that the processing of the films will be printed in a single strip (landscape or portrait) - uncut. Again, this removes some of the standard editorial traits, which are a regular feature of curated art exhibitions, you see the shots which would usually be left out. Subsequently, the practice shot, misfire and overexposed caries as much meaning as the 'controlled' image.
The point of entry is not clearly demarcated for the spectator as the print roles hang uneasily with their random effects, low-fi aesthetic and throwaway qualities. At the same time those capturing the images are recognized artists and their work is displayed in a gallery space, so we measure the stills against what these artists have previously produced and the context in which they are seen. Here are 'amateur'/cheap camera is not only a tool for capturing an experience or object, it becomes a vehicle for a group of artists to play with the language of photography, art and notions of consumption.