I have attached below my tutor report for Assignment 4 - Body of Work. As well as this I have written down my reflections on my tutor's feedback following our video tutorial for Assignment 4. I feel I have addressed most of my tutor’s feedback since the video tutorial, which has allowed me to present well a body of work comprising single images and their corresponding poems in an online portfolio.
Following on from my tutorial with my tutor regarding Assignment 4 - Body of Work, I have listened to my tutor and I'm posting here my two pitches for text used as anchorage and relay with my images respectively.
In this self-assessment for Assignment 4 I will evaluate how I feel my work produced for the assignment holds up against the following 4 criteria for assessment: Demonstration of technical and visual skills, Quality of outcome, Demonstration of creativity and Context.
I have produced a tight series of diptychs for my fourth Assignment for Body of Work. I feel the images work best as standalone diptych. The series of diptychs make a cohesive whole with two clear themes present. The first theme is change in Deptford and touches upon the regeneration going on there. As I’ve discovered, this change is symptomatic of change in many other places in London and wider elsewhere and so speaks for change in a larger scheme of things. The second theme is deconstructing the decisive moment through the use of composites within the diptychs. I experimented with this theme during Assignment 3 and have developed it since to fill out the body of work. Therefore my practice leading up to Assignment 4 has been a continuation of where I was going since Assignment 3 with a clear strategy now employed.
Place and its people are a central aspect of how my project Reconstructing Deptford started and how it has progressed. I have deliberately 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. Showing the people within the diptychs to be similar in one way yet different in another backs up my assertion that people in the regenerated setting are an important part of Deptford too.
Following on from Showing Not Telling – Text and Image to Form Diegesis , I've been inspired to make 9 more poems for the remaining diptychs. In my opinion text has been used in a totally different way (relay as opposed to anchorage) to inform the images.
I requested feedback off my fellow students doing my module and other artists as well. I got some responses and have recorded them below along with my thoughts on each student/artists feedback. Doing this has allowed me to pause and reflect on where my project is going. It has also allowed me to see what others see when they're looking with fresh eyes and from another perspective at the diptychs.
Kris Belden-Adams in Beyond "This-Caused-That”: The Temporal Complexities of Before-and-After Photographs (2017) re-articulates the account of how a diegesis works in a comic strip in Barthes' Rhetoric of the Image (1964). When both text and photographs supplement each other under the same idea, a diegesis is formed (Belden-Adams, 2017). A diegesis is a kind of overall narrative consisting of the like-minded fragments that make it up.
While I had been researching Gill Golding’s work, particularly Welcome to the Fake (s.d.), I became very aware of the concept of hoarding being a place of imagery within the developments in any town undergoing regeneration. More specifically I began to imagine my imagery appearing on hoardings as part of my project. The imagery could be somewhere on the spectrum between affirming the slick, glossy facade of regeneration or refuting it in a dystopian nightmare; showing its true colours. I have created the beginning of a diptych or grid which I think falls somewhere between these two extremes and is a direct example of how my Contextual Studies has informed my Body of Work.
As I alluded to in the post Showing Not Telling, I have decided to make a post detailing how I make a map-based approach to titling the diptychs for my body of work. One of my concerns with map-based titling was that the project should have something to do with a map in the first place. I feel in retrospect that this isn't necessarily true. The concept that drives the project doesn't have to start by drawing a circle on a map for instance in order for the project to be titled this way. Instead the map can be a tool that embellishes the project, by inviting the viewer to delve deeper into the map or coordinates that point to the map.