Terence Donovan • Guardian 

Tuesday, 23 August 2016

“[Sylvia Grace Borda’s] hybrid approach, then, necessitates a prolonged interaction long disposed of in the camera’s historical development. A ‘reverse-engineering’ of sorts, it acts out Brecht’s dictum that ‘nothing comes from nothing; the new comes from the old, but that is why it is new,’ in that the farmers’ stillness, staging their everyday labour with Borda, allows her to build three-dimensional, experiential portraits of them in time and space, breaking (a bit like Cubism) with Susan Sontag’s notion that the photograph is a single significant moment ‘taken’ and fixed by the camera’s frame.” Katherine Parhar • Photomonitor

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