Week seven: Responses and Responsibilities
- Watched and read all the guided materials and also downloaded an article by Nick Brandt
- Continued with my own independent reading
- Posted in one forum and responded to a post by a peer; and looked at the second forum
- Attended a webinar with my second tutor of the module
- Completed a substantial amount of work on my own practice
Week six: A Sea of Images.
- Watched and read the week’s guided materials and made notes
- Ordered a new book by Geoff Dyer, as suggested by one of the tutors at the recent Face to Face event in Falmouth, started reading it and was introduced to the ideas of Dorothea Lange
- Had a webinar with a peer, where we discussed each other’s work and how we saw it developing
- Printed more small pictures to be used as backdrops in my work
- Updated my CRJ
Week five: Gazing at Photographs.
This week has been busy. I have:
- Watched and read the week’s guided materials, note taking
- Joined one webinar
- Developed my own practice – produced three images which are almost ready for use in my Work in Progress Portfolio.
- Participated in two in forum discussions
- Took photographs of the town in snow for use in my project
- Updated my CRJ
- Completed some independent reading
- Looked at some of the work by Max Ernst
- Ordered photo corners to stick pictures into new album (purchased last week)
Week four: Into the Image World.
A theme this week which definitely resonates with my own work, is that of the field of semiotics, and more specifically the signifier and the signified, as described by Barthes in his essay “The Rhetoric of the Image” (1964). My work is evolving as I learn, discuss, contemplate and evaluate. My images have a signifier (such as a woman in a photograph from the 1920s); the signified becomes transparent when other contextual elements are added which represent the movement of time to the present day (such as part of a contemporary image).
I have purchased a few books which should connect well with what I’m doing – and this week I’ve been looking at Vilem Flusser’s book ‘Towards a Philosophy of Photography (1983); and Hans Richter’s ‘Dada’ (1965).
Week three: Constructed realities
Click the link below for my pdf for week 3:
Learning how photographs can be ‘truthful’ or ‘lie’, I considered how I practiced this within my own work. Within my practice I search for myriads of interpretations, a majority of them are a unique, introspective representation of something I view or imagine. I often use photography as escapism and therefore my images tend to rely on make believe – starting with something truthful and evolving into the imaginary, or representational, but never fantastical or magical. I also take this approach with the literature I read, preferring to read narratives that I can imagine could have actually happened in a different time and place, rather than fantasy which I prefer not read because of its reliance on pretence.
My edits are achieved using digital montage, collage, and other means of manipulating my photographs. I also play with artificial light, and have been known to use props and photographic tools such as prisms and filters (although not so much recently).
Regarding other art forms’ use of truth, the first staging of Stravinsky’s “Rite of Spring” comes to mind. Working with Diaghilev, he created a ballet which was so unique for its time with its use of set design, costume, choreography and pounding rhythms that the audience failed to understand it and a riot ensued. For them, it was an incomprehensible violation of what they recognised to be a truthful staged performance, and it was a matter of some time before audiences could appreciate new interpretive visions.
This week I responded to a peer’s post about the use of words within dialogue with a comment about Lynne Truss’ book. In it, she illustrates examples of the transformation of a sentence’s meaning through syntax. A lone shooter walks into a bar, has a meal, kills everyone, then walks out (Eats, Shoots, and Leaves); or a panda’s diet (eats shoots and leaves). This illustrates the way that text (and arguably) images can have their meanings transformed through structure; and therefore perhaps the way we interpret a photograph depends on how we perceive the structure, whether formal or suggested.
Week two: The Index and the Icon
Week one: Shape Shifter