body of work

Reflection: Levels of meaning

In my previous assignment I recognised the use of A4 paper as a symbol of standardisation in framing my shadowgram abstractions of light and shadow. The connotations being that standardisation is a part of human desire to organise and simplify the processes of work, play, etc. The rhetoric I have been pursuing in my BoW with formations is the importance of gaps/intervals/pauses in the arrangement of works to provide a physical space that can psychically engage the viewer (Campany, 2018) to ‘read between the lines’ and form his/her own opinion on the subject of representation. Representation is a burden (Tagg, 1988) on the image and image maker which as Douglas Crimp says “…can never be fulfilled, insofar as the original is always deferred.” (Crimp, 1993, p.111). I believe that in providing this ‘psychic space’ in my site-specific work I am working towards easing the burden on the image maker to be conclusive, definitive, and to sell a way of seeing to the viewer, but to facilitate a discussion based on shared experience of the image.

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Assignment three: Tutor report

As I mentioned in my reflection, I am very satisfied with how the critical thinking has developed in A3. Especially after some of the convoluting of theory in A2. So not only am I pleased to see this rewarded in my tutor report, but also the encouragement to continue to read and take risks in my work. Overall the report was very positive and through my tutorial and follow-up emails with Robert, I was able to find a good balance of theory without creating a referential overload. My thinking has been quite deep for what looks a simple abstraction process, but I think the continued sharing with my tutor and study group peers has helped me to distill this into something much more concise.

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Assignment three: Reflection

The process of A3 has been an interesting development in my BoW. From my initial progression past A2 I was confronted with the great doubt, initially feeling the need to defend my work, or more specifically, the purpose of it. I acknowledged that the personal meditation was not substantial enough as a point of entry and the use of video didn’t quite work. However I remained steadfast in the basic idea, I just needed to more succinctly express what I am doing and why. And so a period of reading and research helped me to articulate the areas of documentation, process, representation and site-specificity.

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Reflection: The Shadowgram antithesis

After catching up on my last experiments with the shadowgram last week. I finally reached a state of being up to date in both BoW and CS for all the work I had carried out. So without having any outstanding works for once I posed myself a quick assessment and mini challenge.

The central idea of the shadowgram strategy is to return the abstract image back to its place of capture; therefore leaving an intervention on the ‘physical space’, while the standardised A4 paper print occupies the ‘image space’. David Campany writes about these spatial considerations saying when we see “What Sander called the “mosaic” of the photographic assembly is an expression of the mosaic nature of bodily and spatial experience.” (Campany, 2018).

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Reflection: Artwork in the public space?

Watching a rerun of a documentary recently on Antony Gormley, What do artists do all day?, I was struck by a couple of initial statements he makes. Gormley, who has an installation Another Place in nearby Crosby says “Sculpture puts something into the world that wasn’t there before.” (What do artists do all day?, Episode 12, 2014). And through this intervention “To that bit of the world, the setting of the world is changed.” I considered in broader terms, isn’t this the case when any artwork enters the world? In the public space, in order to install a piece of art in public, the ownership of the work is relinquished to the space itself. And therefore any further interventions would also be a casualty of the previous expression. It is in this spirit that I enjoy the work of Gormley, together with James Turrell and Richard Serra, that thy evolve sculpture into a kind of experiential placeholder.

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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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Reflection: The Emperors New Clothes

For this exercise I am going to use the example of Bloomberg & Chanarin. As they represent much of what I have been exploring more in Part 2. Namely confronting art or artists that initially aggravate me. When reflecting earlier on the examples from the genre Conceptual Photography, I saw the response of Sean O’Hagan, art critic for The Guardian and Observer to B&C’s work The Day Nobody Died (see fig. 1.). Like O’Hagan my threshold for self-righteous grandstanding was crossed when I learned the concept behind the work. Writing later in The Guardian, he sums it up perfectly saying “The phrase "when viewed from the right perspective" is crucial here, suggesting that there is only one "right perspective" – their own.” (O’Hagan, 2011).

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