“Studies show that children will perform petitionary prayers when feeling insecure in their surroundings and their relationships, even when the child does not come from a religious household. This was me.
My time spent as a child at night was nervous and fearful, waiting for sleep to ensue and the inevitable nightmares to engulf my dreaming existence. In my newly built house, I often wondered about the sounds of the lights switching on and off in the middle of the night. I couldn’t comprehend that ghosts might occupy a modern home, so my only conclusion was that they were ‘future ghosts’, people who were living after my time, and when they turned the lights on we momentarily existed in the same dimension. In primary school, I had one friend. Each day at lunchtime we met to play and frolic, we pretended we were witches, we fought demons and warlocks, and we had magical powers. When I was in high school I went away for a weekend with my friends. We got high and decided to perform a séance, but no spirit or ghost appeared before us, and the Ouija board didn’t guide our hands across it, delivering the answers we sought. I knew that it wouldn’t; I always had an inch of doubt.
Second Sight is a project that interprets the supernatural in a contemporary space. These works negotiate the strong historical importance of the supernatural in religious fables and beliefs, and in the human need to believe. Second Sight is about the human ability to have faith in something that is intangible and beyond our comprehension. Looking into simple phenomena such as light, forms, and movement, these images unveil the many elements that help us comprehend the world beyond what we see. My work is an attempt to materialize my inability to move in either direction, both curious of belief and quick to doubt.”- Sarah Walker
Sarah Walker (b. 1991) is a Melbourne based photographer and has recently completed a BA in Photography (Fine Arts). As well as photography, Sarah uses moving image, sound, sculpture and installation as a part of her practice. She has been published in various online publications including Phases magazine and The Latent Image, as well as partaking in several group exhibitions such as Always-Already, Besser Gallery, Melbourne (2016); KAPOW, Ruffian Gallery, Melbourne (2015); The Photographer as Author, Whiteaways Gallery, Penang (2015); Glimpses, Testing Grounds, Melbourne (2014). Sarah has recently been featured as a part of Der Grief’s online exhibition Guest-Room, guest curated by Jorg Colberg. You can find out more about her work here.
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