I sent some images of the street compositions and brick walls I have been working on:
Although I cannot even guarantee at this stage that I will be using this work in the current project, this is what I have found myself working on.
Street compositions and bricks.
Question:
I am
investigating and uncovering what meaning there is for me in the imagery of
streets and bricks, and linking them to metaphors of psychology. They have
elements of the ready made, and the artistic/sketching practice of choosing
elements on the basis of qualities other than their original purpose, whilst
not obfuscating or clouding their form. It is a personal belief that brick
walls signify constructs of human thinking, in their infinite alterations of
universal elements, and how each component is affected by chemical or weathering
conditions, or the aging process. Patterns reveal something of the decades they
were created in, much as cultural thinking. I have referred to artists The
Boyle Family and Keith Arnatt.
While this
is still a collecting and thinking process, and before I have used these
particular images (I have many of them), my question is, if I present them as
they are, and say what I believe them to show (ie evidence of psychological
states, the way we construct spheres of thoughts and identities, and so on), do
they have that? Do these images read as that intrinsically?
...................................................................................................................................................................
Simon's circle/ blob images - with and without the suggestions of background - liked the one at the blurred window as it seemed to pose most questions. S said he does not want the ambiguity. It's often the points of cross purposes which are the interesting ones to explore.
Jennifer's video is intimate and a bit voyeuristic. Think they show a really successful transition from the story board work - columns, windows of film. The glimpses and images, etc, certainly make it gendered work - not something to avoid, but must be thought through, and accepted.
James was eloquent about allowing process to lead work. I relate to the industrial imagery J uses, the non places, but have to admit to him that I just can't look at it because it flashes way too quickly for my migraine-prone vision.
Eleanor
Jennifer's comments: Bricks with marks - conceptually mark making is human, a cry to be seen or heard. I was here. It conflicts with the uniformity of brick. Cohesiveness. Infinite errors.
Simon's comments: Cornelia Parker - A Day in the Life of...
There's story, a tale to tell.
Angela's comments: It's the impact of the collection. It recategorises - the relationships between them - almost comical images. It shows all those decisions I took in collection and making them.
Conceptually more akin to the Boyle family that Keith Arnatt.
Conceptually more akin to the Boyle family that Keith Arnatt.
The space in between - the negative space of mortar.
Selecting and editing - more concerned with materials and observations than using brick as a metaphor.
The images are not precious, they don't prioritise.
Reminds of Tate Britain - cabinet of curiosities - findings.
Who is the artist - the road designer, the layer, the worker, the artist... ambiguity.
An artist - set of written rules? Art be default.
All photography is found imagery - discuss.
Reflection
Again, interesting to see what everyone is up to and how things are progressing.
I did have my question about the bricks and pavements answered really, and I think they say what I say they say, because of the fact of them existing. To be clear! The images convince because of the collection, the obsession, and the evidence of editing and choosing.
I like those debates which start with something of a rhetorical question - All photography is found imagery.
It's not a yes or no answer - it's interesting to consider photography through the lens of all being found imagery, or through the opposite view that it is not.
16th July 2013
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