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.
I produced another composite with the same framing, based on an original composite of the same location. I happen to feel this particular location is quite strong in terms of juxtaposing the old and the new. In my mind this is a way of symbolising change is taking place within an area. The sleek, modern aesthetics of the block of flats on the left of the frame show they can’t have been there too long, while the disused, dilapidated pub in the centre/right of the frame is clinging on to existence in its present state.
On the 16th December 2019, I attended a Level 3 specific study hangout aimed at showing how theory and practice sides of Level 3 are integrated by building upon what we had learnt in the first study hangout on 24th October 2019. The focus this time was sharing our particular case studies for our projects along with what we think are our grand narratives to the rest of the group.
Ironically, as I walked away from another composite shooting session, I was inwardly quite disappointed with how it had gone. I had waited patiently for about an hour once I had set the tripod up correctly (which had taken another quarter of an hour), for people to pass the scene but only two had crossed by the time I was waiting. I feel there are two lessons I have learnt from a practical perspective about the session going forwards which turned out to be quite positive in the end.
After establishing some of the approaches that made the composite technique stand out in WiP #'s 2-5 and culminating in Assignment 3, I aim to start photographing other locations using these approaches.
This was an experiment I had been meaning to try out for some time but just hadn’t got around to. It again comprises of arranging people within the scene but this time relies on the relationship with another composite from the same location. My aim when making this composite is to have the people moving through the scene frozen at the same points other people were photographed in the other composite.
On the 23/11/2019, myself, Bev and Richard went to see two exhibitions at the Tate modern. This was a fun study visit and although not particularly relevant to my Body of Work, kept continuity for me in attending the group. As well as this it made me think about how work is presented for when I start Sustaining Your Practice.
I went out on this occasion to experiment some more with the placement of people in the scene, making up each composite. I have had some inspiration for this topic when I was reading up on an artist who has inspired me to make composites called Chris Dorley-Brown.
On the 24/10/2019, myself and around 15 other OCA students who were either about to or had embarked on the final part of their studies, attended a study presentation led by Dr. Ariadne Xenou to help us understand how to tackle Body of Work and Contextual Studies simultaneously and appropriately.
I revisited the same two locations as found in WIP #2. The reasoning behind this was so I could experiment with how I place people within the scene.