Sarah Fuller Photography
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Portfolio
Camouflage (Hulinhjálmsteinn)
The Horticulturalists
Leaving Town
The Road North
Camouflage
The Forest of No Return /
The Homecoming
Experiment in Landscape
My Banff
Book of Dreams
Dream Lab
Dream Log
Vestur + Icelander
Saturday Mornings, The Diner
You Will Want to Come Back
Culls
Photo Tarot
Wonder Woman
 
Commissions and
Public Art Projects
 
Coffee and the Paper: Chuckwagon Café (2009)
2:40, 15.60 MB
Sandwich and Diet Coke: Evelyn's Memory Lane (2009)
1:18, 7.27 MB
One Dollar Dixie: Marv's
Classic Soda Shop
(2009)
2:14, 12.4 MB
Saturday Mornings, The Diner (2009)
Artist Statement and Project Description
Sarah Fuller, Lindsay MacDonald and Lia Rogers

What makes a regular? Why do they come back to eat the same thing in the same diner, the same booth, day after day? What is the universal appeal of the "greasy spoon" and what makes it so entrenched in Canadian culture, even in the digital age?

Saturday Mornings, The Diner is an intersection between the tradition of the family restaurant and the interactivity desired by the Internet and television generation that frequent these establishments. It explores the pervasiveness of "the diner" along the Cowboy Trail in Southern and Central Albertan through photographs and vignettes from three classic eateries in the region. The work consists of an actual diner booth installed in the gallery along with video and interactive components that are displayed through a refurbished jukebox selector box and a video projector.

The sculptural work is created using a booth from one of the featured restaurants -Marv's Soda Shop - and a Seeburg selection box purchased from eBay that once had its home in a diner in the Midwestern United States. Visitors are invited to sit in the booth, enjoy a cup of coffee and select a video/audio vignette from the interactive jukebox. The video pieces projected onto the wall adjacent to the booth create the illusion of the interior of the selected diner, and feature site-specific ambient sounds. Photographs of the diners and portraits of the restaurant owners are presented in the gallery space.

The motivation for the piece is an attempt to re-create a series of memories, within the confines of mediation inherent within the photographic and screen-based video aesthetics. All of the components combined offer a variable memory-based perspective into objects and images of a collective activity. The objects of the everyday become mnemonics that imply an unknowable shared history - one that is witnessed with each scratch on the chrome and each tear on the leather seat. The booth therefore becomes a repository of human activity.

This work was generously sponsored by:


 
 
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