Writing My Introduction for My Body of Work

I have written an introduction for my body of work. I found it difficult to get the balance right between going into too much depth about the project and simplifying it too much. Eventually I have arrived at something I am fairly happy with as an insight into how the work was created while still enticing the viewer to look at the images and poems.

My introduction includes a background for the project, then establishes what the project aims to achieve and for which audience. Finally it discusses the composite technique used for creating the images and what implications this has in photographic terms as well as implications for the project.

I think my introduction is succinct yet provides a sufficient amount of detail about the project for the viewer. Overall I am satisfied with the introduction after having redrafted it quite a few times to get to this stage.

Below is my current draft of my introduction which I can see being used in a photo book or online portfolio:

‘Place and its people are a central aspect of how my project Reconstructing Deptford started and how it has progressed. I put place first because it was the primary consideration for me as I began. Now, I consider people to be the thing the holds a place like Deptford together, with the setting they find themselves in the backdrop.

Regeneration of a place that is close to my heart is of interest to me. Depicting people in this setting that is altering irrevocably before me shows people are a vital aspect of the town of Deptford. I believe my images show something of the strong sense of community I have observed amidst all the redevelopment taking place in the area.

By sharing these images alongside anthropomorphic poems, I am inviting the viewer to explore the ongoing changes in Deptford with me, through my eyes. This is realised by image and poem forming a diegesis which informs the observer of how I perceive these changes. It is a local project so the people I most want to look at the work are its inhabitants. However, since similar changes can be extrapolated to other developing towns, I consider the project to be wider reaching than Deptford.

My images are made up of composites where people were present at those points in the frame but at different times. This questions the decisive moment within photography and comments on this trope by subverting it. At the same time, it comments on community in developing areas and how, even in times where a place is being reconstructed, there remains spirit amongst its people.’

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