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Still Visible After Gezi
In Still Visible After Gezi, Roberley Bell documents 16 Istanbul trees photographed in 2010 and revisited in 2015. The installation traces memory, survival, and urban change, using frames to show each tree’s past, present, and absence after the city’s transformations.
Related
Still Visible After Gezi
In Still Visible After Gezi, Roberley Bell documents 16 Istanbul trees photographed in 2010 and revisited in 2015. The installation traces memory, survival, and urban change, using frames to show each tree’s past, present, and absence after the city’s transformations.
The location of the White Horse in Uffington was chosen for its intricate terrain, formed by the steep chalk downs, and for its distinct features that have been shaped by humans since the Bronze Age. Jeremy Wood first mapped White Horse Hill using GPS receivers in 2001, and repeated the process in 2002 to create a 1:1000 scale model from the recorded tracks.
A nine-minute video documentary about the model-making process was produced in June 2005. It includes footage captured at the site and animations of the GPS tracks alongside time-lapse sequences of the model being constructed.
The model displaces Wood’s trajectories through a transferral of surfaces, creating a three-dimensional map of his systems of movement over 43 kilometres of walks conducted over four days. Acting as a data collector, he traversed the area to generate the material needed to model the experience.
The GPS tracks were processed and reduced in scale by 1,000 times, then printed as templates on cardboard sheets. These included a plan view of the journey (track position) and multiple strips of varying lengths (distance) and widths (altitude). Each strip featured score-lines with colors indicating the varying degrees of change in the direction of the track.
The GPS model serves as a physical reference to a history of geograms, tracing back to the Nasca Lines of ancient Peru and the chalk figures carved into the English landscape. In both cases, these works were created by clearing paths—through the removal of stones or topsoil over large areas—revealing signs not entirely visible from the ground, projected toward the skies like symbols on a map meant to be seen by the gods.
Credits
Hugh Pryor & Jeremy Wood

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