In October 2013, I started taking a homemade pinhole camera around with me as I travelled around London during the day on public transport.


The exposure time was determined by how long I spent waiting on a bus or train, building up layers of exposure on the emulsion.


This work communicates ideas about time and it's measurement. It's about the times between; when we want to be somewhere else, preferably doing something else.


Julia Bardsley on pinhole cameras:


"For me, pinhole cameras are theatres...the frame is a sort of theatre. You can have multiple layers of exposure and you always have the idea of trace and of movement.


"They're not static in any sort of way and there's something to do with the quality, the grain, which is very painterly as well.


"It's a total chance operation because you don't have any viewfinder and you have to work out from lines at the side what the angle is and what you're going to get.


"One of the things I really understood about the pinhole images was that I really needed to have some kind of fixed anchoring point over which the movement could register, that's why in a lot of them the grid kind of appears, or they're all done in the same space so you have these fixed elements...then all the sort of body and movement things happen over this fixed thing.


"There's a sort of mystical, magical quality about what's possible"





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