assignment two

Assignment two: Tutor report

I received the feedback for A2 Shadowgram from my tutor. Here I will break down how I would like to reflect on the input.

Firstly the thing I disagree with is that I haven't explained my ideas in my notes. At the very least I would say that I have been clear in how I came to the creative strategy and developed it. I wrote posts that established the idea, consolidated it through printing, replaced printing with post-production and lastly played with exposure time. I also wrote about how the work of Uta Barth challenged me on how to differentiate my approach photographing light on the interior space.

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Assignment two: Reflection

I found submitting this assignment an intensely practical challenge which I will outline below. When reflecting on the criteria for BoW I find it important at this juncture to acknowledge a synergy; of consolidated learning from the last module, my initial expectations set out in my artist statement and the presence of mind to engage with peers suggestions, tutor feedback and tangents that come up in research and the course itself.

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Reflection: Exposure vs luminosity

In my first shadowgram study I explored the evolving image from a fixed position like a mindfulness meditation offering a conveyor of images piercing and disappearing from the frame. My second study was an uninterrupted light reflection that gradually moved out of position.

My third experiment with a shadowgram works with the fading of the light source (the sun) at the end of the day in response to a quote by György Kepes, that "Light rays covering an image are able to interpenetrate one another, light increases light, shadow deepens shadow. The result is greater intensity." (Kepes, 1944/2012, p.80). As this intensity depreciates, the shadow pattern is affected in the face of increased exposure times.

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Reflection: Establishing a Shadowgram visual strategy

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.

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