Calum Stamper

Invasion / Invasion

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Calum Stamper
Calum Stamper is an artist from North Yorkshire whose work explores the nature and relationships of modern culture behaviors in present-day society. The photographic genre of street and documentary photography are keen interests and a preferred area of exploration in Stamper’s ongoing practice. In the past, Stamper was a sports photographer for the Hartlepool Rugby Club and has published many of his imagery through the club itself. However, his exploration into the digital space of the internet and social media has changed Stamper’s style to a contemporary representation that is a reflection of this artist’s perspective on discussed issues in the art industries and media. Stamper is an alumnus of the University of Sunderland and Northern School of Art, who was shortlisted Ezio Student Awards in 2017/ 2019 and has exhibited work at House of Blah Blah, Pineapple Black, Wintertide Festival, the Auxiliary and Kaunas Photo Festival.

 

Invasion, Invasion

Constructed through the variety of popular mobile photo editing apps, Stamper’s photographic exploration “Invasion, Invasion” explores the nature of the photographic print and its devaluation in the ever-growing digital culture. To comment on the ever-changing state of our modern society, Stamper questions the sentimentality of a photographic artifact and if photographs can be still considered an accurate historical object. Hence, to interrogate this notion of historical truth Stamper has re-photographed Google Street View using a smartphone camera and used modern photo printers built for smartphone users to create an array of 2x3 zink (zero ink) photographic prints – in reflection to on-going use of facial recognition technology and the invasive nature of social media platforms. However, Stamper has further explored this by using found imagery from a family archive with the zink photographic prints produced to create a selection of still-life imagery that questions the used the everyday digital stickers, like emojis, as a tactical use of memetic warfare to question if the ability to “take back control” of our privacy in the digital age is possible, considering how the same technology is utilized to collect and claim personal data generated by you the “digital citizen” who use it.