body of work

Assignment four: Tutor report

Having received my tutor report for A4 from Robert, I must admit I felt reassured that the conceptual was well received going forward. The time gap between A3 and interventions for me made the assignment take on an added pressure to deliver after the big build up. This was compounded by the limited time I could undertake the work so overall I feel happy about the feedback and glad I continued to take risks. And now going on with A5, to continue producing a few more formations and interventions so I can select from a wider group of case studies is a clear enough brief.

Read More

Assignment four: Reflection

After concluding my theorisation in A3, I set about using A4 to bring this concept into the public space. This is not only an evolution of formations as a strategy, but also a return to A1, where I presented my notational impulses of photographing shadow patterns which I regard as a form of ephemeral street art. Even now I continue to make notations whenever inspired. Together with my approach to framing shadow patterns within a standardised form of A4 paper before returning a 1:1 scale rendering to its place of creation; a way of seeing has evolved both for interior and exterior spaces which is interconnected in its various forms.

Read More

Reflection: Using Image and Text

My work doesn't have any kind of political agenda or a narrative. I would go as far to say that my work for BoW was borne out of a diverse group of influences such as street art, sculpture, Bauhaus and East Asian art. It brings together physical and meditative acts as discussed by David Campany in his essay Physical Space, Image Space, Psychical Space (2018). But it has also contextually evolved through the academic theory I have read, and reflected upon during this module.

It is also fair to conclude that if I was not theoretically challenged I may have continued to pursue the safer ground of photographing the Asian landscape through a graphical, Western minimalist eye.

Read More

Reflection: Drafting interventions

Back in May I had the opportunity to finish my time up in Liverpool by putting into practice the theory for my BoW in the public space, before heading to my new pastures of Kuala Lumpur. While this wasn’t completely a now or never situation, my coming 6-12 months will be limited to the domestic space where I could, in theory continue with my formations strategy which is based upon working within the confines of home much like Uta Barth. In addition my accessibility to photo quality printing is not the same as what I had previously in my studio space, making the logistics of the process more inhibiting.

There was a sense of unknown how the ideas would translate outside, however I had undertaken plenty of research beforehand on site-specificity and participation. After a period of getting the technique and process right, I gathered 6 completed interventions on the public space around Liverpool.

Read More

Reflection: Sequencing

Admittedly I might be treading on old ground by referring to Richard Serra, James Turrell and in a photographic context, Hiroshi Sugimoto, however I do regard it relevant to see how there work, sculptural and photographic are sequenced. Having written about site-specificity regarding sculpture and its influence on my practice, I also have the books at hand to reflect on the layouts based on a new point of focus.

Since my work is not based of narrative, I think surveys and monographs are more relevant publications to explore. Monographs in general are not narratively sequenced, but more often divided into series.

Read More

Reflection: Case studies and learnings

As I mentioned in my previous post, I have started working with my ideas of shadowgrams and formations in the public space.

I quickly realised that working with a camera setup was too slow and intrusive. Much like my notations and many of my earlier OCA projects, I drew on the incognito characteristic of the smartphone which allows me greater mobility and dexterity in operating within the public realm. My ‘gear’ was now reduced to a simple A4 wallet which I carried chalk (for dark surfaces and paint stick (for light surfaces) and an A4 card to mark the space. I could then use the wallet for transporting the prints for installation. In a way, the wallet has become part of the “…presence of the artist…” which then “…endows places with a ‘unique’ distinction.” (Kwon, 1997, p.105).

Read More

Reflection: Entering the public space

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).

Read More

Reflection: A matter of scale

Prior to entering the public space to commence with experimenting for A4, I have had (too much) time to consider how my A4 paper placeholders will be affectively used. Scale becomes a matter of concern in making a coherent formation. Shadows outside are significantly larger outdoors compared to the contained graphic compositions in the image space when working indoors. So if I was to try to create a mosaic of time and light on an exterior surface, I will need to consider the size of the object that the shadow is being cast from.

Read More

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, not to sell a way of seeing to the viewer, but to facilitate a discussion based on shared experience of the image.

Read More

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.

Read More

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.

Read More

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).

Read More