Date: 8th
September 2014 Tutor: Angela
Rogers
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Reflection on
outcomes since last tutorial
I had sent a couple of nearly there video samples, one of
the old school photos, now called Class of Yesterday, and one layered with
Found Paintings – Embedded, which will be the final piece. Also sound which I
have identified but not worked on yet – Ellen singing. Also the paragraph
outlines for the written contextual commentary which would leave only about 100
words apiece.
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Current projected aims
and outcomes
I have been spending much time working on this – currently Class
of Yesterday, and after waves of processing to give myself the palette, now
piecing the images together, and checking against Found Paintings. It was great
to hear Angela say, unprompted!, that the work is so full of references, with
positive and negative, fading, masks, and so on. Of course that is what I have
been aiming at and what I see. AR thought it was now all pulling together and that
my attention to the process is bearing fruit. Meticulous is such an encouraging
word – most of that work is volumatic (not sure if that is a word, but it
should be – all about sheer volume), repetitive and mostly invisible. As I come
to the stage in making the piece where I am aiming for a kind of perfection, or
at least doing whatever the piece requires that I can possibly do, maintaining
meticulousness whilst I have to make compromises and choices, is the arbiter of
inner judgement.
The obvious reference to Boltanski. I am not signposting
work, or labelling intention in his way. In fact, my work is not necessarily a
memorial at all – that’s one of many possible interpretations. I could put it
this way – in Embedded the positive and negative aspects are equal, as a literal
metaphor. People fade away, but the fade in also, perhaps being remembered. We
all fade away in time, but my feeling is that we all make a mark and our
presence makes a difference in the world, no matter how short nor how remote in
time. All these thoughts of mine have been embedded into the piece as I have been
making it.
The layers add layers of thought – the paintings, colours,
textures – an aesthetic and sensual experience, and adds more information and
interpretations – emotional and conceptual. What makes the multiple layering work
is rigorousness and thoroughness.
AR discussed more reflection upon my intentions for the
piece as I complete – more integrated thoughts. The purpose and value – each work
on its own – paintings and photos, but which more dominant, or where is the
balance – that’s what I own and control. Apparent in the stills – the framed
digital prints, shown in a variety of ways.
Positive and negative within the image stimulates
associations – can’t determine people’s responses, perhaps psychological
response. Warning of overwhelming with too much stimulation and information –
be conscious of refinement. Keep it subtle – reached a fine balance – keep attention
to aesthetics. Don’t be seduced into adding more, pull back, what can I take
out in finishing?
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Discussion and
recommendations
The projection – keep as unencumbered as possible – I had
been thinking of projecting into a blank frame but that directs the
interpretation too much – will use a blank board. The lack of physical presence
is the impact of the piece. Has the quality of memory.
Also showing on a floor TV. The multiplicity of display –
potential to mitigate a heavy emotional impact. I liked Angela’s description of
the informality of display. Yes, I am showing in an informal way to show it is
one of many possible ways to show, that it would be arranged differently,
possibly different stills framed, etc, somewhat responding to the exhibition
space. I want to make sure the focus is on the moving image although I am also
showing stills. I am fascinated with the reflexive relationship between the
stills and moving image.
The Old school photos – class of Yesterday, as I have been
working on them, photographing them again and solarising, making them reflective
and silvery, positive and negative at the same time, and further with the still
I am producing, I am very aware of referencing the entire history of
photography, back to glass and metal plates, and daguerreotypes, and want to
reflect this further by possibly having one etched in metal. I have been
reading/researching about this a bit but have a mountain of blogging to do.
The sound – yet to really work on – have to keep it subtle,
and not pull away attention form the work. Perhaps blend in, break it up with
other music. The sound can’t be the experience of this work – don’t undermine
it – consolidate and build it.
The contextual writing. AR’s earlier writing workshop was
great about writing around a thing to get words and phrases out. I think I will
write the paragraphs I have identified – very useful anyway. There are
overlapping ideas. But AR said the writing is not an essay, so make it your own
and satisfying – it can be lyrical, have character.
Reflection
It’s quite difficult to update colleagues of progress of
piece as there is so much subtle processing, and not so subtle, so it was good
to be able to get together a near sample to send, and hear AR say what I hoped and
intended was in the piece. Anyway, compromises, in a positive sense of choice,
now have to be made in completing the piece.
10th September 2014
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