Everywhere We Shoot (EWS) has crafted its distinct aesthetic voice for nearly 20 years, working principally with photography, though with their practice evolving beyond that. Composed of husband-and-wife Ryan and Garovs Vergara, the duo has set themselves apart both commercially and in the artistic sense.
Referring to the duo as “photographers” always seems like a vast understatement of their body of work. Yes, they are mainly known for their photography — lending their audience with a perspective so singular, it may seem unbelievable for it to come from two individuals. However, in their career, as well as their home life, Ryan and Garovs are perfectly synced.
Their work has always been collaborative with each other, but with their new offering at West Gallery, Untitled — (Flowers), the collaboration extends to the visiting audience. On the floor, a large reprint on tarpaulin — of flowers, of course — is placed. When the duo was taking photos of this arrangement of flowers, they had placed it on the floor (that was where the light was best), and distressed them (by walking on them), and so this moment has been captured and recreated to be shared with others.
The exhibit is anticipatory of movement through the space it inhabits. They selected a set-up that invites the viewers to enact something we have done before and we all do when we step on something beautiful — take photographs of our feet.
The exhibit is anticipatory of movement through the space it inhabits. They selected a set-up that invites the viewers to enact something we have done before and we all do when we step on something beautiful — take photographs of our feet.
Through situating the image of the flowers on the floor, mimicking the same light conditions that sparked the inspiration to take the photograph in the first place, and even repainting the gallery the same colour as their dining room, EWS aims to duplicate and recreate the moment in which they decided to take the photograph. The gallery is transformed into a place for play; it becomes a space that is rethought into something less solemn and distant.
Having this future participatory act in mind presents the duality of the show: focussing on the ephemeral and the world’s state of constant flux, presented through a medium that is meant to preserve. Untitled — (Flowers), in how it was presented and conceived, mirrors the temporality of life, and the ways in which we preserve a fleeting moment, though not entirely accurately.
Even the selection of material (printed tarpaulin) was intentional, as the gallery upcycles this material, crafted into bags and vessels, and adding a different life to what would otherwise be disposed of as garbage. The image on it will fade over time: another hint at life’s impermanence.
In addition to this main piece, EWS has a selection of prints as well as another image suspended by rope, crawling and extending to the floor. Again, viewers are invited to interact with these images, ignoring reverence for the work, recognising the acts of interaction and collaboration as valuable in themselves.