The process of making this assignment involved playing with numerous different versions of the image, before I selected the current edit. Some of the ones that did not make the cut are shown below with the reasoning for their exclusion.
Not possible to depict adequately without backlighting or 3D glasses.
(With back lighting, the semi-cut image has a wonderful transluscent glow, which I have not been able to reproduce as yet on video.)
Straying too far from my brief
These begin to use techniques which substantially alter the meaning of the image. I would describe them as artistic interventions, rather than those based on process.
This is an ongoing process of exploration of the digital image and since making these, I have already produced a number of further experiments.
Demonstration of Technical and Visual Skills
I believe that this work is technically and visually interesting. A considerable range of Photoshop and image editing skills were needed for the series, but not in the original image which was made at the Festival of Light in Longleat at the beginning of January. I selected this image because of light’s importance to all photographic work, and because the colours were bright and distinctive. In reality though, the image itself was not important. The same processes can be applied to any other image in a similar way.
Quality of Outcome
I still do not really know how I feel about this work. Clearly, it is not finished, as I have left it open to adding other different manipulations of the image and perhaps this is the reason for my confusion. I have done a great deal of background research and experimentation, and I feel confident that it is well rooted in theory, but am not clear about whether it works in reality. I have shown it to several of my peer group and they have been positive about it, although there have been two questions I want to address. Two people questioned the notebook format and asked how it relates to the subject. For me, the format is deliberately an interim one, and it will be changed for assessment, after a period of time has elapsed and I can view it more impartially. Secondly, someone said that they did not see much in the way of meaning in it, and wanted to know whether it referred to my ongoing work on fading memories or something else. My response to this is that the meaning of the work relates to its position within the digital/analogue debate and the potential that digital imagery has for alteration and manipulation. I would very much have liked to attend the Creative Coding for Beginners course at the Photographers’ Gallery this spring, but sadly the travel costs make it too expensive.
Demonstration of Creativity
This work is definitely on the same trajectory as some of my previous assignments. In particular, it continues the themes of altering images and using craftwork techniques as well as Photoshop manipulations. I see my developing style as a fusion between photography, paper arts and fabric crafts. It is also becoming clear that I favour a conceptual approach, with ‘the idea or concept being more important than the object itself. (Modern Art Oxford, 2017) and that experimentation of all kinds is a fundamental part of my creativity.
I have thoroughly enjoyed the reading and contextual research for this assignment. Several of the photographers whose work inspired me are mentioned in the Contextual Background post, but I particularly want to pick out the work of Thomas Ruff and Mark Dorf. The way that Ruff alters one element of an image, applies it to a series and then re-photographs it is inspirational for me. I was mesmerised by his 2018 series Tripe, using old Empire images at the Victoria & Albert Museum last month. Mark Dorf’s exploration of how the new digital world and the natural one are coming to co-exist is also fascinating, and the ways he expresses his feelings about it through image manipulation has opened up all sorts of ideas for future work for me. A final core source was this article in Photoworks on New Materiality.
Modern Art Oxford (2017) Contemporary Art of Today: Materiality & Media. [online video] At: https://www.youtube.com/watch?v=mxffm4tXJRA (Accessed on 26 February 2019)
Plummer, S., Riches, H. & Wooldridge, D. (2011) ‘Photography’s New Materiality?’ Photoworks issue 18. [online] At: https://photoworks.org.uk/photographys-new-materiality/ (Accessed on 9 March 2019)
Exhibitions and lectures visited since the last assignment was submitted:
- V&A Photography Gallery
- All I Know is What is On the Internet
- Out of the Woods of Thought, Birmingham
- Spellbound, Oxford
- Karen Knorr lecture at the Royal Photographic Society’s Women in Photography group
- https://hollyocadic.wHelen Sear at Hestercombeordpress.com/2018/08/15/helen-sear-at-hestercombe/
- Festival of Quilts, Birmingham NEC, August 2018 (no post)
- A quick gallop through the Photographers’ Gallery (August)
Exhibitions I have contributed to in a similar time period:
- Only Angels or Demons at ‘Osmosis’, the South West OCA group’s exhibition at The Island in Bristol, November 2018.
- Remember When…? at ‘Time’ – The Thames Valley Group’s exhibition at The Lightbox in Woking, February 2019
- Portrait lighting – POZERS, Wiltshire 25 September 2018
- Paul Kenny workshop – 14-15 September 2018
- Chemotypes – Bristol Folk House 10-11 November 2018
- Curating Exhibitions – South West OCA workshop 13 October 2018
- The Research Process – South West OCA lecture January 2019