This project presents excerpts from several series of works by James Nizam. There has been a thematic thread to Nizam’s artistic practice that is discernable from a wide view, but each body of work alludes to it, or forms a way of approaching his thesis. This can broadly be described as human interaction with space (both finite and infinite, both literal and metaphoric), the significance and impact of built environments and their ability to say something about the human condition.
Nizam’s methodology begins from an empirical basis. His actions are deliberate and calculated; whether it is focusing and bouncing a beam of sunlight around a room, cutting a perfect ellipse through the walls of a home, or using the stars in the night sky to tap out Morse code. This channeling of real world elements into a working process to yield luminous, singular photographs is indicative of the nebulous reality that he is trying to illuminate: the reality that exists at the threshold, sometimes literally from outside to inside, from one room to another, or from the passing of a physical thing to a memory and from a memory to something else.
Nizam’s artistic practice has taken many forms, and it is in the intersections between mediums (photography and sculpture in particular) that much of his aesthetic inquiry takes place. The camera can be used as a space-creating device and sculptural forms are drawn onto the film, meaningful only from the camera’s perspective. For Nizam, this morphing from one thing to another presents an opportunity for a work to, as he put it, “unhinge itself from the site”.