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.
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.
Some questions have been floating around in my head concerning my project for Body of Work so far. These questions are based around how/if it relates to regeneration and these questions inevitably lead to more questions! I have therefore jotted some of them down in an attempt to provide answers to at least a few of them.
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.
I have decided to make what seems will be a pretty boring post concerning the logistics of my composite making and the selection of location from which to photograph from. I feel this is necessary because it is useful firstly as a reference point to remind myself of why I’m making the choices I’ve arrived at. Some of these reasons are practical while others are more thought out. The other use for making this post is that I might arrive at realisations I hadn’t conceived before writing this down.
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.