This case study is grounded in the theory I presented in A3 in a domestic space. While I considered those earlier formations to be a form of visual meditation, the interventions in the public space take on a dynamic course of action akin to street art. The process requires a “fluid mobility” that embraces “…site specificity as a nomadic practice.” (Kwon, 1997, p.100).
This is a brief example of how shadowgram/formations is “performed” in the public space and the levels of photographic tasks that are undertaken to complete a case study.
Step one is to identify a point of interest and to mark out the space of an A4 sheet of paper. This I do with a scale card and outline with chalk.
I then capture this space in black and white ensuring there is both a reference point in the image (i.e. the floor tile line) while keeping sufficient resolution for the print. In post I double check for perspective distortion and crop the image to A4 dimensions (210x297mm) thus creating a 1:1 scale rendering.
After printing the edited file I install the print back at the place of capture using double sided tape.
I authenticate the installation by handwriting the date and time of the original shadowgram capture on the print.
Finally I photograph the finished example, including the object that created the shadow abstract. I return at different times of day, documenting the continued presence of the intervention so I can select from a number of viewpoints for my own publication. I can then leave further interpretations open to the viewer as they encounter the piece.
In my next post I will reflect on how this process has succeeded and what I have had to reconsider, along with unforeseen circumstances that can interfere with working in the public realm.
Kwon, M (1997) ‘One Place after Another: Notes on Site Specificity’. In: October, Vol.80(1), pp 85-110