Exhibited at Grand Parade & Final works
progression Exhibition for Photo Fringe Brighton 2016 / London?
Scale of the individual pictures –
Summary of work in progress
shadow defined is the interaction between light and surface – uniquely created in location, time and ((season (naturally occurring))
1. a dark area or shape produced by a body coming between rays of light and a surface.
“trees cast long shadows”
2. used in reference to proximity, ominous oppressiveness, or sadness and gloom.
“the shadow of war fell across Europe”
3rd person present: shadows
1. envelop in shadow; cast a shadow over.
“the market is shadowed by St Margaret’s church”
synonyms: overshadow, cast a shadow over, envelop in shadow, shade, block off the light to; More
2. follow and observe (someone) closely and secretly.
“he had been up all night shadowing a team of poachers”
synonyms: follow, trail, track, dog someone’s footsteps, keep watch on; More
211215 – disturbing reading
My approach is to subvert the reading of the photograph, both intrinsically and extrinsically. what Is meant is that the photograph should have
- settled in its abstract nature
- serene appearance of white (light in colour), pure, calm, peaceful, and untroubled; tranquil.
- in addition it be unclear what is being observed, almost familiar but not quite. Think in the same terms as a graphic artist – shapes but created by light – signifying confusion in the process of moving buildings
represented in the diametrically opposed position of what is in fact happening. as follows:
211215 – disturbing (the) reading
Starting the put the work together firstly it started to suggest it own reading, than I asked why I should not be disturbing the reading of the image. nature of reading about the building is disturbing, the turbulence to come over the next semester is disturbing. I am disturbed.
I think the images would work best alone, rather than in pairs as set out.
Exhibition Places with a past -(lost property) Christian Boltanski
House (1993) was never intended as a permanent work – its physical manifestation of imposed absence demanded that it must disappear just as 193 Grove Road had before it. Maggie Grey on Rachel Whiteread
http://www.apollo-magazine.com/house (accessed 4th January 2016)
Boltanski takes advantage of the irredeemable sense of loss associated with memory processes… constantly reminding the viewer that what is seen is entirely constructed. He gently reminds us that there was never an original pure identity to the past we can mourn the loss of and while our recreations of the past may flicker or go out, our memory is a performance created in the moment, filtered through a million preconceptions and adaptations, a fragile action that needs constant attention and which speaks just as much of the present as it does of the past.
Rebecca Caines, ‘Christian Boltanski: Representation and the Performance of Memory’, Afterimage 32:1 2004: 4-5
to elevate the objects to the level of sculpture, singular, solitude.
3) Details of surfaces I like the way that a combination of images are starting to tell the story of the planes, I think I need to shoot continuing with this approach, creating the personalities with the planes by combining images?
1) This experiment is concerned with borrowed light; walls and planes made visible this in turn bring the space into our consciousness.
2)…Available light; this experiment is about time, the time which is taken to collect [the available light]. This experimental approach connects me with the unconscious place, a tangible which is untouchable…
- photographs taken handheld, max values camera would allow
- setting ?
“Archive”: a collection of historical documents or records of a government, a family, a place, an organisation
“Archivist”: a person, whose job is to develop and maintain an archive
Archives are cultural warehouses, storage systems for memories and data, offering insights, traces of past experience, they can help raise new questions and gain better understanding about the past.
This year, we will work with the notion of place as archive – our Circus Street building faces demolition at the end of 2015 despite being the only surviving elementary school of the Carlton Hill neighbourhood which started to disappear as part of so-called ‘slum clearance’ from the 1930s onwards. We will begin by investigating the history of the neighbourhood and the building itself, looking at original building plans, exploring the building’s uses over time, view archival photographs held at the Keep and elsewhere. This brief is an invitation to photographically document the building and the area as it changes forever, to interview and photograph nearby residents and workers, or to engage directly with the archival material itself.
Your final project could be a personal inventory, a narrative combining image/text, a sequence of images following the specific story of one or more objects found in an archive, or any other visual sequence inspired by either a real or imagined (fictitious) archive. Your response can be experimental, but your final work/submission should come together as one piece of work.
in progress ii
Portraiture & the space
a presence in the space
- combinations of long exposure & handheld
- combinations of long artificial lights & tripod & people
working with the space & surfaces
the presence of space
- deconstructing the available light
- either through under exposure
- long exposure
- combinations of long exposure & handheld
- combinations of long artificial lights & handheld
in progress i
Works I will be referencing
using the light to create the shape over time
Constructing Worlds :Photography and Architecture in the Modern Age
Hiroshi Sugimoto ,Installation images, Barbican Art Gallery
25 Sept 2014 – 11 Jan 2015 © Chris Jackson / Getty Images
The exhibition graphically illustrates that photographers can provide many different narrative threads when documenting the rise and fall of architectural projects from all over the world. In many ways the exhibition can be seen as a timeline of urbanisation and a changing industrial landscape over the last eighty years. It also reflects the rise and fall of particular ideologies and cultures that often use monumental structures as an indication of their standing in the world. One of the most striking aspects of many of the photographs is that as buildings and structures have got bigger , the individual person has diminished or disappeared altogether , perhaps indicating that little thought is often given to the people who have live in the environment.
But in many ways the exhibition as a wider appeal to anyone who is interested how buildings and structures can be used to promote visions of ourselves and the societies we live in.
sugimotohiroshi[ Accesses 261115]