South-most Arrival - The English Channel | At the hour of the Total Solar Eclipse, but on the Day Before | Bumble Rock, Lizard Point, Cornwall, Great Britain | The South-most point of mainland Great Britain 1999 - 2001
Dimensions: image: 716 x 1000 mm
Copyright: © Thomas Joshua Cooper | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This photograph, "South-most Arrival" by Thomas Joshua Cooper, captures Bumble Rock in Cornwall. The monochromatic palette gives it a really serene, almost ghostly feel. What do you make of the composition? Curator: It feels like standing at the edge of the world, doesn't it? The artist's long exposure blurs the line between water and sky, evoking a sense of timelessness, almost unbearable solitude. Does the eclipse reference speak to you? Editor: It hints at something hidden, perhaps the unseen forces shaping the landscape. Curator: Exactly! Perhaps Cooper is inviting us to contemplate the unseen, to feel the weight of history etched into these rocks. It feels like a journey, a pilgrimage to the edge. Editor: I see it now, the journey and the mystery. Curator: Art can feel like that, a slow reveal.
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http://www.tate.org.uk/art/artworks/cooper-south-most-arrival-the-english-channel-at-the-hour-of-the-total-solar-eclipse-but-p78605
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This work is a version of an image from Cooper’s four-part The Eclipse Suite 11 August 1999, which he has altered tonally and cropped slightly differently, removing some of the image from the right and top. The work is also printed on a much larger scale than the original version. While Cooper does not usually rework images, the importance of The Eclipse Suite to his recent practice led him to revisit this image. Like another work in Tate’s collection, The Swelling of the Sea | Furthest West - The Atlantic Ocean | Point Ardnamurchan, Scotland | The Western-most Point of Mainland Great Britain 1990 (Tate P78706), this image is representative of Cooper’s body of photographs which show the view from the furthermost edges of the British Isles. In this image, the ocean appears to be almost still. The rocks act like blocks of tone in a geometric abstract painting. The purplish tinge to the shadows is created by Cooper’s application of chemicals to the surface of the black and white print.
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