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
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
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