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placing images in order / visual sequences / measuring wall space needed / 68 images (some not shown here)

A song whistled across the interstice Project Synopsis

This project is constituted of the images taken during a performative collaboration between me and my subject. Throughout the shoot, we exchanged conversation interspersed with directions and actions. The images are not intended to stand alone or act as portraits but to trace an interaction and movement that unfolds. The photographic form remains as the most significant mapping of the performance, as each session produces a totally different selection of movements and forms. The cooperation is attuned to our friendship but does not stand apart from external circumstances affecting our moods and ability to freely communicate ideas with one another. I could not allow myself to exploit my subject or to force our interaction in an uncomfortable atmosphere. Musicality, notation and structuring of sound has pervaded our collaboration throughout, serving as the vessel and motivation towards a state of mind where movement is a natural response, and the choreography of movement is spontaneous and natural, using bodily mimicry.

Since the beginning of the project, it was apparent to me that I wanted to explore ways of looking and contemplating a subject in a way which is conscious and controlled. Initially splitting images into smaller sections for closer inspection, I became dissatisfied with the subject matter of the images which marked an inability to connect to or know a subject with any interest. I moved away from urban landscapes and briefly into a still life composition, attempting to construct a single image which would create an overlapping and juxtaposition of objects and images. I found that with both of these instances of subject matter, there was no non-arbitrary or coherent way to regulate how I would produce further images of the subject matter, and I could not conceive of a narrative that felt relevant or significant to me in this way. The ideas I was having seemed rigid and overbearing and set aside a lot of the enjoyment of producing images and creativity. Working with readily existing printed matter in magazines allowed me to negotiate ideas about personality and appearance in relation to the stillness and flatness of the photographic object. The images I chose were mostly fashion images, and this introduced to me some conflicting and contradictory ideas about the photographer and their model, how the interaction that takes place between them is a collaboration, but the final output stands alone as the work of the photographer, maintaining some technical coherence but simultaneously presenting contrite facets of a model which are totally in the service of endorsing a brand. The model themselves in most cases is relegated to a container for the ideas of the photographer.

The experimentation with collage allowed me to compare processes of image manipulation and editing, which lead me into the studio to create a set of images which were deliberately negating a strong atmosphere and brand. Instead, I chose to direct my model to perform a series of actions and gestures which could be recombined through collage. Later, in the process of selecting and layering images, I realized that the distinctions I attempted to make between the images were outside of the collaboration, and so they were moving into the realm of the editorial, with the decisive action of the photographer’s selection becoming the definitive exercise of control. Instead, I decided to treat all the images as constituting an entirety / the whole, and my role would be to sequence and edit based on conveying and mapping the performance through these photographs-as-documents.

624 words

Which artists did you consider in order to develop the concept?

How did you approach this idea to begin with, and how did it evolve in response to your outcomes?

What was working well?

What did you do?

[some words I might mention later: rhythm and tempo, song length, mood]

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What was your feedback for your portfolio?

Portfolio review with Holly Birtles chaosmopolitans For this project my feedback was relating to the style of project, I wasn’t sure how to think of this project because I had only seen it in one form before together with my tutors, and the final form it took in the portfolio was received more as a fashion project. I had positive feedback on the variety of models but I think a key part of the feedback was in relation to the sequencing. Admittedly I took for granted the importance of a good edit and strong sequence, so my selection of images was not necessarily coherent or as strong as it could have been, and unfortunately this meant that my concept was slightly undermined, less visibly evident across the images.

The inclusion of a single image which was motioned blurred at the start of the series set a different expectation for the rest of the images than the ones I actually included in the end. A more balanced selection of images depicting motion or less formal constraint would have been more coherent. Also the project as a whole was distinctly different from the description I put on the cover, I agree with this because I realized that the description seemed to suggest a project more involved and experimental but the images themselves were a lot more reserved and polite (my own observation, though the description and images did suggest slightly different visual outcomes)

- How are your images sequenced - Edit to have some more variety of movement happening and stillness – allowing this to add to the narrative - Good balance of models but maybe choose carefully, ruthlessly - Have a lesser variety i.e. a more focused selection, and a greater quantity

Songs - Look at Erwin Blumenfeld (he has a lot of images that look floaty, shimmering? Colours/lights overlapping, textures – in a kind of kaleidoscope effect). Specifically look at his distortions [Distortions (?)] “Show Studio” – Website?, shoots streamed live; Nick Knight - More installation shots: how would this projection look in a gallery? (will I be able to get some of these from David Freeman?)

For this project my feedback was a lot more relating to the inclusion of a link or some access to the video, which I had not already included. Alongside the screenshots and the veil image itself it would be effective to have more of the images I made during this project (specifically more of the images I made in the first stage of making an image for the print) Again this project was likened to more fashion photography work, which I thought was an interesting direction. I think my own reaction is that I don’t see that within my work (Or don’t want to see it that way!) perhaps this was more in part down to the presentation, I presented the portfolio as loose pages, on a matte paper, rather than showing more examples of how my work would look in a gallery setting, as an installation or hanging on the wall, and therefore the images must have appeared most applicable to the context of the magazine page.

Group portfolio review In this portfolio review I intended to get a greater insight into creative pathways, some of which involve photography, some of which were much more design oriented. The great majority of portfolios shown were entirely online or digital (in the form of a slideshow). To some degree this was highly applicable for me because I gained a lot of useful tips for presenting work in a way which is unfussy, decluttered and really put the work forward in the most flattering light.

For my own work I realize I can be a lot more simple and minimal with design aspects, but a key focus would be the presentation of a project description alongside each project, alongside installation shots to showcase and visualize how the work would fit into the gallery.

One universal, transferable tip for all kinds of visual practice is to have the work visualized or materialized in a final context, showing the success and endpoint of the realized idea, but also acting as a prompt for further ideas perhaps in expanding the project or touring to other spaces.

I found that a lot of the work showcased was intended for a client or commercial purpose and therefore there was always an implicit brief constantly in the working process. However, being the artist making work means that I am constantly shaping a sort of brief, but the context is key, even though it may not preface a project it eventually becomes a motivating force in setting a deadline and giving the kinds of constraints and pressure. The point of display is where a project reaches a significant iteration, one which may not be final one , but encapsulates enough of the idea to generate attention. This sort of attention is what is then responsible for keeping me involved in a wider creative and conceptual discussion/dialogue, and that then helps me to keep making work. The aim is to keep making work.

Project Title Developing a suitable title for display

dividing but keeping the whole musical, tonal, cadence, inflection, modulation, performance, collaboration, split, segment, intersect, isolate, divide,

exchange, verbal direction wax lyrical, wax poetic, wax eloquent wax as in expand or grow waxing and waning as in the growth and diminution of the moon

looking and inspecting perlustrate, peruse

elaborate or split abbreviate metamorphose modulate transmute transpose unfold unravel augment magnify expand progressive

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2pho634.y - professional futures - preparing digital portfolio

putting together an effective layout for a PDF version of my portfolio, following the design of my CV and cover sheets and ordering of my physical portfolio

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2pho634.y - professional futures - preparing a website and selecting images

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2pho633.2 - major project 2 - Notes on Blankness

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Design group drafts / Working on icons & identity Original Images by Rhianne Clarke

Project Development, this version was shown at The Youth exhibition

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nicokrijno

Flowers from my brother

nicokrijno

Bottles and playdough.

Presentation slides from my tutorial, see below for feedback and references alongside those suggested by peers and tutors

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Studio Shoot with Toby Wall How did the shoot itself go? What were some of the motivations behind this shoot? After my tutorial with Eugenie Shinkle, even though I decided to work with magazine images, I had the studio booked for the next day so I decided to try to make some images with the purpose of then manipulating them digitally in the same kind of layering and cut-and-paste style. I think this was also after discussing my motivations for using fashion images sourced from magazines, I found that I couldn’t articulate (or even insist in my own thought process) on the use of fashion images.

The magazines seemed like a material go-to which were both cheap and abundant and accessible, but the imagery I had actually intended to find would ideally have been something with a comparatively understated visual quality (ie. colour, retouching) and more choreographed. The proportions of the fashion image; the presence of a body against a physical backdrop of the external world (or the studio) were ideal in the fashion image, but the relationship of the action/direction of the body is too explicitly directed towards the endorsement of the clothes, of the brand itself. Though I recall seeing examples of editorials in which this relationship is less distinct, such as in earlier issues of Tank Magazine (in the larger format, before the re-design, will add names+examples), I still struggle to justify a need for my work to respond to these fashion images. I think that after having looked at images like these it would be worth investigating how I choreograph someone myself and what kind of positions and actions emerge in the contact sheets, what relationships become apparent between the body, the clothes and the frame.

What was successful? Once in the studio, I decided to use a flesh-coloured background rather than a white one to make the subject stand out more. The lighting set-up I opted for would involve lighting the background and the subject separately to make the background an even tone, and to distinguish the subject clearly from the background. though for the most part the background is even, in some of the photographs the outer edges of the background are unevenly lit. I was able to communicate comfortably with my subject and I felt like I had a good cooperation and understanding, and that was helpful in getting a variety of photographs to work with later on in the editing stages.

What was not so effective? Though the lighting set-up should have been straightforward, I found it tricky to coordinate it by myself, and found my own confidence waning and felt quite disheartened at first with the amount of equipment and set-up required, I think this may have been in part due to the lack of preparation and also an unclear idea about how I wanted the lighting to look in the images.

What could be improved in the next stage?

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