This week was given to more experimentation and to finalising a venue for my exhibition in August. While I feel strongly that the longer-term story based on my project is on solid footing and will be able to be told, it will take some time to get there. So, I have been trying to find ways to make work in the interim that is more contemporaneously interesting as well as being a potential element in the ultimate story of Coul Links.
I also continued my reading after finishing Flusser’s Towards a Philosophy of Photography with two short books by Austin Kleon, Steal Like an Artist and Show Your Work, and I am reading Berger’s Ways of Seeing. The more critical theory I read it seems that everyone has their own view on the topic and there isn’t any universality of thought. Nonetheless, I am finding these reading somewhat thought provoking and they are providing me with a different vocabulary for thinking about and discussing my work.
Case in point, I asked two tutors for thoughts on some of the experimental work I had done this week. While both were encouraging and supportive of my efforts to push myself, I got diametrically opposed opinions about the work itself and which of the test cases was most interesting and effective. Fortunately, my own thoughts aligned reasonably well with one of the tutors. On a related note, after a few weeks of working with tutors in Surfaces and Strategies I find myself looking at my photos during post processing wondering what I can take out of them. While some of that can be done with cropping, some of it requires me to use Photoshop and I am seeing my skills and confidence with that tool improving as well, though there is still much room for improvement.
I revisited Sergey Larenkov’s work this week and was directed towards work by Richard Barnes in which he photographed Civil War re-enactments, and work by Deborah Baker.
Nothing in what I have done or read is changing my core methodology with respect to my project, but I believe aspects of the macro work I have been testing and the experiments this week with a model “playing” the course routing in its current natural state and repeat photographing the same perspectives when the new course is finished.
I am working somewhat in parallel in curating my WIP Portfolio, my Landings exhibition, my local exhibition(s) and a September one day speaking engagement where I have been asked to show my work. I need to get this decided quite soon for the exhibitions so I can get on to the elements of this term that are graded. I have also been asked to leave some of my work on display for sale in the venue that will host my primary exhibit. It is an entirely new thing to think about how to value my work.
Richard Barnes: http://www.richardbarnes.net/projects/#/civil-war-1/
Berger, J. (1972). Ways of Seeing. London: Penguin Books Ltd.
Flusser, V. (1983). Towards a philosophy of photography. English. London: Reaktion Books Ltd.
Kleon, A. (2012). Steal Like an Artist: 10 Things Nobody Told You about Being Creative. New York: Workman Publishing Company.
Kleon, A. (2014). Show Your Work: 10 Ways to Share Your Creativity and Get Discovered. New York: Workman Publishing Company.