My tutor has mentioned to me before that I might try experimenting with the reflections that are evident in some of my composites. We discussed how this might be a way of subtly inferring to the viewer that something is not quite right with the images - that they are in fact composites.
On the 16/09/2020 I visited the Photographer’s Gallery to see the 4 sets of work nominated for the Deutsche Börse prize 2020 and I went there with a dual purpose. The first purpose was to look at the work from an artistic perspective and try to decide which of the four nominations was my favourite. The second purpose was more practical and involved looking at how the exhibition was put together and paying attention to details like the framing and layout of the four selected works.
On 20/07/2020 I attended another beneficial L3 study hangout presented by Dr Ariadne Xenou and with quite a few fellow students. Topics of discussion were our Contextual Studies and also issues of authorship.
Following on from WiP #11, where I received some interesting feedback from a fellow student, I have decided to experiment further with conveying to the viewer something of the chaos behind the order of my composites.
I have decided to make this post partly for fun during lockdown following on from an informative study hangout about Keeping up Momentum (04/04/2020). I have also made it to inform the viewer something of the chaos behind the order in my composites of Deptford.
On 18/05/2020 I attended a L3 study hangout which was very useful in establishing where I am personally with my studies.
The study hangout I attended on 04/04/2020 was directly aimed at addressing ways to keep up momentum during the COVID-19 pandemic. As well as coming away with inspiration for coping during these times, I found the discussion really useful with regards to how I think about art in general. This was a very welcome bonus and I’m pleased I attended the session.
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.
Although not strictly photography related, I went along to a book launch of Deptford is Changing (2020) by Anita Strasser. I follow her blog (which has the same name) which has helped me form a better idea of how gentrification and austerity is affecting Deptford.
At first glance, when looking at the original composite and the composite I’d just made, not much has changed in terms of place. However, upon closer inspection the composites reveal change which took place sometime in the 5 or so months since the original was created. I feel the time between composites allows for change and it is up to the viewer to look for the differences. It is also up to me as the artist to entice the viewer in. I’m beginning to think this will come with how I eventually present the composites (including text) as well as framing the composites as similarly as possible so these differences are more discernible.