I received my feedback for A1 Shadow and Surface from Robert. I have been reluctant to move too far ahead with my ideas for BoW in order to acknowledge the input.
This assignment was executed only with my smartphone, although I have been carrying out further experiments with my camera in the domestic space. The feedback for the use of the smartphone has been very positive from Robert as in my previous module and his encouragement of the risk element in my work was nice to read. It seems to tap into the impulsiveness of street photography without creating a story. Robert expressed a little concern about me being more interested in form over content, and not to dismiss content but to find a balance. Perhaps I should clarify here a little, it is more that I am not interested in narrative and that abstraction is the direction I am pursuing. Read More
I found a new shadow pattern to work with in a domestic space, the main difference with this one is that the movement is vertical compared horizontal. I don’t have access to my printer at the moment to make a repeat of my earlier experiment, so for now I have utilised Photoshop to amalgamate a similar overlay of images. Read More
In preparation for my latest study group I shared the visual strategy I started outlining for BoW. In response one of my peers shared a couple of references to research that work in a similar way, Uta Barth and Charlotte Fox. Having researched briefly I decided to focus further into Barth’s approach which is more abstract. I have discounted much of her earlier work for this comparison as it does not relate. I have focused specifically on the light and shadow projections. The question that immediately comes to mind when coming across a work that is similar is the more important self-assessment, what differentiates your work? Read More
After aborting a repeat of the experiment of the new strategy for two days due to poor weather, the light conditions briefly improved on the third morning. There is only a one hour window for the light to project on the same wall. To progress the experiment I left the print from the previous session on the wall and waited for the light-shadow to project over it. Read More
A shadowgraph is a shadow projected onto a surface that is framed by an optical device. It is largely applied to scientific research using highly sensitive equipment to identify and measure flow patterns. It made me recall the process of the photograms of György Kepes, Man Ray, and László Moholy-Nagy. In my research I didn't come across any artistic applications of the shadowgram function and is a clear differentiation between the methodology of the two processes. However, rather than the more controlled constructive approach of the photogram (see fig. 1.), I find the responsive observational quality of chance more suited to my personal approach. Read More
I regard genres as a starting point of expectation. But perhaps the specific use of genre as a concept is in a historical context, to acknowledge what has come before. In a similar sense to citations and references, it is a self-awareness for the artist and subsequently the spectator that works of art one has created have origins from elsewhere. In having established a genre it helps to know that the work of art is a continuum of a point of view that has been crafted or explored before in order to expand the spectrum of possibilities. Read More
My interpretation of the genre terminology 'conceptual photography' is that of an artistic theory that acts as a framework to which a photograph (or series of) adheres to. Conceptual frameworks have at heart the desire to explore singular ideas; be it to subvert an existing theory or to illustrate a new one. This is in contrast to the desire in other genres to pursue or create narratives. The theory underpins everything and takes precedence over craft and story. Positives for conceptual photography include the evolution of ideas and helps to distill them into a into a concise format to explore, essentially setting ones own boundaries. Conversely it can be perceived as displaced from daily life and narcissistic. Conceptual photography can also court controversy in striving for attention or deliberate provocation. Its place in art history coincides with photography increasingly entering the museum place and thus falls into the realm of "...the machinery of art history and museology,” (Crimp, 1993, p.107). This creates an elitist or hierarchical view that the concepts need intelligence to be understood. Read More
During my previous module, Documentary 2, the general consensus was to dispense with the notion of an 'objective' discourse and to focus on a more holistic method of analysis. Not only would the artist influence the outcome, but also the circumstances and conditions (such as budget, time, restriction, etc.) around the body of work. This is where I would regard photography to be more aligned with design than art. Psychogeography is something I have used in my practice professionally and academically. During Documentary 2 I utilised being in Japan to reference the Provoke aesthetic for one assignment. While in (a muslim country) Malaysia, I participated in Ramadan and documented the experience. In terms of both conception and execution psychogeography played a major role. Read More
On first impressions the work of Gregory Crewdson, often regarded as cinematic seem to be a prelude to the hyperrealism of modern television. The initial surprise to me comes that the work was shot on large format film. Not because of the image quality, but the aesthetic flavour looks rendered like a 4k file. It is not to say that this look was not possible before but I detect a certain influence on current tv and cinema visuals. The film adaptation of Gone Girl (Fincher, 2014) immediately comes to mind. The use of suburban America as a backdrop (see Fig. 1) of the narratives carry 'the uncanny of everyday life.' (Lugez, 2016). Yet I also see elements of surrealism influenced by David Lynch. And the dramatised stylising of spectacle through media is culturally specific. Read More
Following the introduction with my tutor for BoW, Robert, I felt compelled to reflect on how my interest in Korean photography can coincide with the progress made during my last module Documentary 2. Robert challenged me to reconsider the influence the course may have had on my practice. The regular theme in my work during Documentary 2 was the physicality and self-reflection of lived experience. By extension Robert suggested to spend time looking into phenomenology. Read More
One thing I have been enjoying playing with so far in still life is the difference between projection and illumination. Casting a shadow in one situation and illuminating out of the shadow in another. I have used two subjects: a man made object and a plant. What I find interesting in both of these situations is that shape and form are present in the signifier (what it is). But by way of lighting what is signified can be altered via projection. Read More
In the very early stages of working through the course, I have intermittently enjoyed using my camera at home in a certain way that I never do. My practice is something I almost always do outdoors and even away from my local confines. Ironically as I have stated my professed interest in the Bauhaus, specifically the idea of having a place of experimentation and construction, yet I have traditionally been more of an explorer. So working at home and in controlled environments is a departure for me and a complete change of scale. Read More
In August 2014, I visited what I would refer to as the most inspiring and influential exhibition I have attended at the MMCA in Seoul, Korea.
The exhibition was titled Korean Beauty: Two Kinds of Nature. As I collated exhibition materials and artists names on my smartphone, I entered into a dialogue with a concentration of the Asian aesthetic through the camera which provided many reference points, suggesting areas of exploration for me to develop. Read More