Cian Quayle  (°1966 Great Britain) Lives & Works in London -  Celco, Clapham Junction, London 2006, is from a new body of work entitled Sites of the Habitus and the Filmic. These images document everyday spaces of work, retail and leisure, which trace a series of ‘micro-journeys’ undertaken on foot, by bus and bicycle. The register of these images is ‘as found’, although a set of formal and social concerns have established themselves as a structure for recognition. The visibility of these spaces is initially rooted in a ‘passing glimpse’, or has been noted during repeated visits to the same site. This might involve the daily practice of buying a pint of milk, playing a game of pool or going to the laundry. They are embedded in our consciousness as a result of the repetitive frequency with which these acts form our social dispositions or habitus. Formally they operate in two distinct registers in their individual display of similar characteristics: The lighting conditions are usually mixed but predominantly artificially-lit by fluorescent light. As such it is difficult to distinguish whether these locations have been photographed by day or at night. They are also familiar as places of communal use and gathering and as a result are subject to surveillance by CCTV cameras and mirrors. This gaze is returned in the point of view of the camera, which has registered these images in a semi-oblique, perspectival trajectory, which plunges towards an unseen vanishing point. The subject focus or loci within each image is confused in an overwhelming array of visual detail, as perspectival-depth flattens out and is displaced by abstract form and colour. The more you see the less you can hold, in a dispossession of the hand in favour of the eye. These images mark a changeover of ‘place’ to ‘space’, measured by perspective driven vectors of direction, velocity and time variables, which accentuate a sense of dislocation and out of placeness. This is deferred in the deep graphic clarity of another series of large black and white photographic prints. These images allude to Roland Barthes notion of the filmic, as a series of ‘optical artefacts’, which archive the mobility of the city through the immersive social experience of lacking a place.