Contextual research

You Will Find Us On The River // A Year Gone By

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"But first and foremost, Learned from Whitman that the poem is a temple - or a green field - a place to enter, and which to feel. Only in a secondary way is it an intellectual thing - an artifact, a moment of seemly and robust wordiness - wonderful as that part of it is I learned that the poem was made not just to exist, but to speak - to be company." - Mary Oliver, Upstream, 2016

Much like Oliver, I believe this to be true of photography, its process and the power of the final photograph. It's not just an object to look at; they are moments of exploration reflection and can be good company when hung on the walls of a home where they will live a long life and hopefully remind you of a time exploration, or even introduce you to a new world where you find connection and to yourself and others.

In particular, this project, You Will

Find Us On The River, embodies connection with self land and the friendships and bonds formed between women.

As a group of six women, we spend seven days on the river, disconnected from our daily lives, no service, just each other and a map to guide us down the river. Without the influence of everyday life, this lets us explore our connection to the land and water that majestically surround us. As we float further down the river, the canyon walls grow taller, we become smaller and reflect on not only the wildness surroundings us but the wildness within ourselves and how that can easily be forgotten, making it harder to listen to what is inside. However, this project, which is still a work in progress, aims to explore the process of reconnecting to the inner self and how the land helps us to do that, and by having a better understanding of self, we are better equipped to connect to others and form bonds that will last a lifetime.

Final Major Project // Contextual Research// Drowned River: The Death & Rebirth of Glen Canyon on the Colorado

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After coming back from the river trip, I was introduced to Drowned River: The Death & Rebirth of Glen Canyon on the Colorado by author Rebecca Solnit and photographers Mark Klett and Bryon Wolfe.

The project investigates climate change and how photography can be used as a means to communicate and document the effects we have on the environment. Much like what I wish to convey in my work, it also explores what it means to get to know a place and understand our connection with it. I feel like my images from the green river trip is a dipper dive into this as it shows more human interaction with the land compared to the rest of the work I have produced so far. It's also a reflection of my personal experiences in a similar landscape as Glen Canyon; it's a deeper reflection on these matters. My contribution to the effects we have on the environment and, how I want to deepen my understanding of self and place to communicate better on how we can make a difference.

figure 1: Drowned River: The Death & Rebirth of Glen Canyon on the Colorado, 2018, Mark Klett & Byron Wolfe

figure 1: Drowned River: The Death & Rebirth of Glen Canyon on the Colorado, 2018, Mark Klett & Byron Wolfe

Figure 2: Drowned River: The Death & Rebirth of Glen Canyon on the Colorado, 2018, Mark Klett & Byron Wolfe

Figure 2: Drowned River: The Death & Rebirth of Glen Canyon on the Colorado, 2018, Mark Klett & Byron Wolfe

Final Major Project // Contextual Research //Group Critique with Dinu Li

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This morning I had a group critique session, and very much enjoyed the feedback from Dinu and others in the session. As I have not been able to easily connect with other students often during the last few months, it was lovely to see how people have been progressing. 

During the session, Dinu brought up the series Réunion by Marie-Pierre Cravedi. Instantly I was drawn in by her ability to tell an individual story and highlight the discomfort that comes from exploring your own life. Though Cravedi mainly focuses on family dynamics, she creates beautiful images that are slightly off centre and ambiguous leaving the viewer looking for answers that to questions that may not be completely clear. 

I feel like there is a similar theme in Common Ground. I have an idea of the questions and interests I have and want to explore and have spent time figuring out where to start, and common ground reflects that. This project may not be a seamless narrative, but I will have it at a point where it demonstrates my current position of self and my connection with my surroundings, which like Réunion a little awkward and moving at its own pace.  

Figure 1 : Réunion, Marie-Pierre Cravedi

Figure 1 : Réunion, Marie-Pierre Cravedi

Figure 2 : Réunion, Marie-Pierre Cravedi

Figure 2 : Réunion, Marie-Pierre Cravedi

Figure 3 : Réunion, Marie-Pierre Cravedi

Figure 3 : Réunion, Marie-Pierre Cravedi

Final Major Project // Contextual Research // The Photo Book

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For my final outcome, I have decided to produce a photo book with COVID still effecting larger social events. I will also be creating an online gallery where my work will be viewed and accessed freely by the audience. 


I have looked into making my Coptic Stitch book, but I do not feel that I have left my self enough time to do that, So I will find a printer to provide my book for me, but fear I will not have much control the spread options and layouts. 


Some of the printers I have looked at so far are 

Artifact Uprising 

Papier

Smartpress


I was not impressed with Papier. I felt it was very limited and did not allow me to have too much control over my layout. 


Smartpress allows for the flexibility over layout and page count, but the price was a little more than I wanted. But as I would get 10-15 books in one order, this is still an option, and I would have a stock of my books, instead of making to order. 


Artifact Uprising is a happy medium. The style and quality of the books are the closest to what I want to produce, and they have flexible layout options. The price point is a little higher than I want, but I happy to consider them still. 



Final Major Project // Contextual Research // Hamish Fulton

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As mentioned in my, The North Fork Valley post, the path is a prominent aspect of my work. The more I reflect on that, the more I can relate to Hamish Fulton's work.

My art is about specific places and particular events that are not present in the gallery. The given information is very minimal. My hope is that the viewer will create a feeling, an impression in his or her own mind, based on whatever my art can provide.

I am inspired by the way he evokes an emotional response and connection to place. His images are beautiful and minimally presented. They reflect the loneliness and a sense of wonder that only he could have experienced at that moment. However, he has been able to translate that to the audience. This makes the work relatable and affective at connecting the viewer to his work.

Something I hope to produce with my own project. I want to create works as a way of finding common ground with others.

Figure 1: Hamish Fulton, Mankingholes on the Pennine Way, 1973

Figure 1: Hamish Fulton, Mankingholes on the Pennine Way, 1973

Figure 2: Bitten by a Dog: A Twenty Day Walking Journey from Dumre to Leder in Manang and back to Pokhara by way of Khudi, Nepal, 1983

Figure 2: Bitten by a Dog: A Twenty Day Walking Journey from Dumre to Leder in Manang and back to Pokhara by way of Khudi, Nepal, 1983

Figure 3 : Footpath, Iceland, 2008, Hamish Fulton.

Figure 3 : Footpath, Iceland, 2008, Hamish Fulton.

References:

Tate. 2020. Hamish Fulton: Walking Journey: Room Guide | Tate. [online] Available at: <https://www.tate.org.uk/whats-on/tate-britain/exhibition/hamish-fulton-walking-journey/hamish-fulton-walking-journey-room> [Accessed 1 August 2020].

Final Major Project // Contextual Research // Awoiska Van Der Molen // The Living Mountain

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At first, the beauty of Van Der Molen's project 'The Living Mountain' was what drew me to investigate more of her work. This led me to come across a video (shown below) of her explaining her work, and in it she states: 

"I am not interested in landscape...its a wanting to be in that state of being in nature, it's a longing of a place I want to be in...''

I can very much relate to this statement, as I am too interested in the potential of the land and what effect it has on us. I also find, unlike most of the photographers I have researched during this time, her approach and final aesthetics of her images most align with how I am producing work. Van Der Molen's images are direct but gentle and leave room for interpretation from the audience, something I always try to consider when making my own work. 

Fig 1: #331-14 2012 // 2009-2014 Nature // Awoiska Van Der Molen

Fig 3: 'The Living Mountain' #10 2020 // Awoiska Van Der Molen

Fig 2: #364-18 2013 2009-2014 Nature // Awoiska Van Der Molen

Fig 4 : 'The Living Mountain' #03 2020 // Awoiska Van Der Molen

A short interview with Deutsche Börse Photography Foundation Prize 2017 nominee Awoiska van der Molen. www.thephotographersgallery.org.uk Interview: Janice M...

References:

YouTube. 2017. The Photographers' Gallery Interviews Awoiska Van Der Molen. [online] Available at: <https://www.youtube.com/watch?v=AACu385Wiw4> [Accessed 20 September 2020].

Final Major Project // Contextual Research // Catherine Hyland

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Why is that search for meaning so alluring? Hyland believes that it’s woven into our contemporary search for authenticity. “So much of our lives are based around reproductions and mass-manufactured illusion,” she observes. “I think people constantly try to escape our mediated world because it’s very difficult to find something truly authentic…we start to get that gnawing feeling that we are all occupying the same space, and so we seek out new experiences as a remedy to that feeling.”

I find Catherine Hyland’s approach to examining our need to step outside and discounted from our “mediated world’’ inspiring. The way she produces images of vast landscapes, often people are not noticeable right away, but the traces and marks made are apparent.

Her images are wide open for you as the viewer. First, see how beautiful the location she is and drawn to it, then you start to notice little details of human traces on the land, and how we curate to our needs and pleasures.

When it comes to my own work, I want these themes to be apart of what the audience interprets. I want to draw awareness to our influence and interactions we have with our wildness.

Figure 1: Universal Experience, Catherine Hyland

Figure 1: Universal Experience, Catherine Hyland

Figure 2: Universal Experience, Catherine Hyland

Figure 2: Universal Experience, Catherine Hyland

Figure 3 :Lithium Mining | Atacama Desert, Catherine Hyland

Figure 3 :Lithium Mining | Atacama Desert, Catherine Hyland

References :

Hyland, C., 2020. Catherine Hyland. [online] Catherinehyland.co.uk. Available at: <http://www.catherinehyland.co.uk/work/universal-experience/> [Accessed 20 August 2020].

Hyland, C., 2020. Catherine Hyland. [online] Catherinehyland.co.uk. Available at: <http://www.catherinehyland.co.uk/work/lithium-mining-bloomberg-chile/#chile_-0726-001-1_v1.jpg> [Accessed 20 August 2020].

LensCulture. 2020. Universal Experience: Truth, Authenticity, And Tourism - Photographs By Catherine Hyland | Lensculture. [online] Available at: <https://www.lensculture.com/articles/catherine-hyland-universal-experience-truth-authenticity-and-tourism> [Accessed 20 August 2020].

Final Major Project // Contextual Research // Angela Blažanović

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When it comes how I want to approach my still life images Angela Blažanović ‘s work comes to mind.

When it comes to how I want to approach my still life images, Angela Blažanović ‘s work comes to mind. Her frank and straightforward style was what initially caught my attention, but as continued to observe the images, I began to appreciate how she constructed the objects that she found into beautiful and temporary sculptures, which give them a new sense of life and brings awareness to how much in our life comes and goes and how much we discard at our convenience when it does not suit us. She also draws attention to pollution and how we influence the landscape with it. Speaking of how the project develops she sates;

During this first visit I came across all these random objects; things people had either lost or thrown away. This litter had seemingly become part of the landscape itself. I felt a strong fascination for those objects and started imagining the stories that lay behind them. The project really developed from there; I started experimenting with ways of shooting the objects that would put them in a new context and make the viewer revaluate their existence.

And, although it was not my initial intent for the project, the theme of plastic pollution and environmentalism naturally came up very quickly. I started doing more research and learned about the Anthropocene, the theory that humans have introduced a new geological era on earth. I became interested in the idea that a landscape could speak of the humans it inhabits.

It made sense to let the project dictate the message, to research this current issue further and incorporate it in the work; and possibly even have a positive impact on it.

Two points that resonated with me is how she wanted to present the found object in a way that would bring awareness and make the viewer reevaluate their impact on the planet— something I wish to highlight in my work. The Other point is that she brings up Anthropocene also something I think is already a theme in within my work, but feel I could bring it forward a little more within my still life.

Fig 1 : Fragments of a River, 2019 Angela Blažanović

Fig 1 : Fragments of a River, 2019 Angela Blažanović

Fig 2,3,4 : Fragments of a River, 2019 Angela Blažanović

Reference:

Hamada, J., 2020. Booooooom X Capture Photography Festival: Angela Blažanović Interview. [online] BOOOOOOOM!. Available at: <https://www.booooooom.com/2020/05/15/booooooom-x-capture-photography-festival-angela-blazanovic-interview/> [Accessed 5 August 2020].

Final Major Project // Contextual Research // Lucas Foglia // Human Nature

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Today, nature both heals us and threatens us. As we spend more time than ever indoors looking at screens, neuroscientists demonstrate that time outside is vital to human health and happiness. Yet, we are vulnerable to the storms, droughts, heatwaves, and freezes that result from climate change. Human Nature is a series of photographic stories about how we rely on nature in the context of climate change. Each story is set in a different ecosystem: city, forest, farm, desert, ice field, ocean, and lava flow. The photographs examine our need for “wild” places—even when those places are human constructions. - About Human Nature By Lucas Folia

Fig 1: Kinley Holding a Bag of Bull Testicles during a Branding, Texas 2019 // Lucas Foglia

Fig 1: Kinley Holding a Bag of Bull Testicles during a Branding, Texas 2019 // Lucas Foglia

Fig 2: Alicia Clearing Land for Farming, California 2012 // Lucas Foglia

Fig 2: Alicia Clearing Land for Farming, California 2012 // Lucas Foglia

Fig 3: Michael Gleaning Cotton, Texas 2006 // Lucas Foglia

Fig 3: Michael Gleaning Cotton, Texas 2006 // Lucas Foglia

What draws me to Folia's work is how he examines our deep desire and need for nature as part of our wellbeing alongside our vulnerability to the elements and the changing climate.

I enjoy how he explores different regions and our search to find the wilderness in them.

As my work develops, I also want to explore the effects the areas I am investigating have an influence on us, why are we drawn to this area or land? What do we gain from being here, and do we have a positive or negative impact by being there?





Reference:

foglia, L., 2018. Lucas Foglia | Human Nature. [online] Lucasfoglia.com. Available at: <http://lucasfoglia.com/human-nature/human-nature-statement/> [Accessed 28 July 2020].

Final Major Project // Project Development // Plant Based Developer // Take one.

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Figure 1: American Lake WA D7, 2011. Brandt, M., 2020. Works • Lakes And Reservoirs

Figure 1: American Lake WA D7, 2011. Brandt, M., 2020. Works • Lakes And Reservoirs

At my last meeting with Wendy, I mentioned my interest in looking into alternative film developing processes, and she mentioned Matthew Brandt. His project Rivers and Lakes where he takes a photograph at a lake or river then he takes some of the water back with him to then soak his chromogenic print in the water.

He states;

Representation has always had this subject/object dilemma. It is usually when photography becomes standardized that the veil becomes invisible, and a more direct link to the subject is established…but this notion doesn’t really appeal to me so much. I am really trying to make the veil of photography a little more opaque. - Matthew Brandt

As a photographer, who has always wanted a clear connection between image and viewer so they get the best representation of person or place as I can give, I find this statement interesting. He is masking his images/ subjects to create this very surreal abstract images that take on a life of their own, but I also think that because he is using the water from these lakes and reservoirs, I feel that he is creating an accurate representation of these places, even though the images he has made have been distorted.

 
Figure 2: Crackling Lake WY 5. Brandt, M., 2020. Works • Lakes And Reservoirs

Figure 2: Crackling Lake WY 5. Brandt, M., 2020. Works • Lakes And Reservoirs

 
 

Though I am not after an abstract aesthetic in my work, I am interested in using organic material from locations I am documenting, so I have considered looking into plant-based developers.

Figure 3 : Kale and Reddish leaf developer. Stevi McNeill 2020

Figure 3 : Kale and Reddish leaf developer. Stevi McNeill 2020

 

I have wanted to experiment with plant-based developers for a while, so for my first batch, I made, Kale and Reddish leaf developer, as it was on hand and wanted to see if this was going to be a reasonable addition to my project.

recipe:

  • 700ml of tap water

  • 2 handfuls of chopped Kale and Radish leaves each.

  • Boiled water let steep for 12hrs

  • 1/4 cup Washing soda

  • 5g Vitamin C

  • Pre soaked film for 1 min

  • Dev time 12 min

  • Fix time 7 min

The film was way underdeveloped, so I think with the next roll I will double, possibly triple my developing time, hopefully getting some positive results.

Figure 4 : 35mm film developed Kale and Reddish leaf developer. Stevi McNeill 2020.

Figure 4 : 35mm film developed Kale and Reddish leaf developer. Stevi McNeill 2020.

I have also come across other organic developers via Dagie Brundert that I want to try and compare over the next few weeks.


Rosemary
Boil 2 little twigs fresh rosemary in water for about 10 mins, steep 1/2 hour)
10 g vitamin C
50 g soda – 22°, 40 min

Beer
500 ml beer
12 g vitamin C
50 g soda – 30°, 15 min
(I tried: Budweiser, Old Speckled Hen, Guinness, Stauder, Oldenburger OLs)

Black Tea
500 ml black tea (strong, 7 ts, steep 15 min)
8 g vitamin C
45 g soda – 22-23°, 30 min


References:

Brandt, M., 2020. Works • Lakes And Reservoirs — Matthew Brandt. [online] Matthew Brandt. Available at: <https://matthewbrandt.com/lakesandreservoirs> [Accessed 1 August 2020].

Museum, G., 2015. [online] YouTube. Available at: <https://www.youtube.com/watch?v=PVOqkkxksWE> [Accessed 1 August 2020].

2015. [online] Available at: <https://www.nps.gov/sajh/learn/historyculture/english-camp.htm> [Accessed 12 July 2020].

Final Major Project // Contextual Research // Jess Gough

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As I have been focusing on topography more these past few months, I have noticed the work of Jess Gough. I found that I relate to her approach to examining our relationship and experiences concerning nature. She states;

"My recent work concerns our experience of nature and the representation of its presence. I use my camera almost as a navigational tool, a means of studying the textures and kinaesthetic qualities when wandering through new landscapes. 'Topographies' is an ongoing series of publications I'm producing, each volume takes a different printed form and explores a particular landscape. Volume II is in the process of emerging from reams of negatives." - Jess Gough

Figure 1: Etna, Jess Gough

Figure 1: Etna, Jess Gough

Figure 2: Etna, Jess Gough

Figure 2: Etna, Jess Gough

Much Like Gough, I find myself using my camera as a tool to navigate my way through the landscapes I am exploring. In many ways, I have been doing that for a long time. Only recently have begun to understand how properly utilize my camera to expand my explorations and distil them into a cohesive body of work that reflects that.

I find myself drawn to the colours and patterns in most of her work, and this has made me consider to sprinkle in a few colour images in my final body of work. I think these images will be from the red rock areas, as they have such beautiful, reds, oranges and whites. Photographing these areas in black and white would work just fine, but I think I should at least try and see what these areas would look like in colour compared to black and white.

 
Figure 3: Topographies I, Jess Gough

Figure 3: Topographies I, Jess Gough

References: 

Gough, J., 2020. Jess Gough. [online] Palm Studios. Available at: <https://palmstudios.co.uk/feature/jess-gough/> [Accessed 26 July 2020].

Final Major Project // Contextual Research // Raymond Meeks

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As I have been making black and white images more than colour recently and I have found myself drawn to others that produce work mostly or entirely in black and white, such as Raymond Meeks. Furlong; adriana dreaming {the dark blue ocean of pictures} the second chapter to furlong; blue evening has been a source of great inspiration to me these past few months. His images and presentation are very similar to what I want to be creating. They are very fluid, yet well thought out and depict an interesting narrative, emphasized by a well thought out edit. Meek States

“The edit and sequence are formed as a reflection on place and atmosphere—the natural environs combined with man-made structures that serve as the setting for this new body of work. "

I often struggled throughout this project to get an edit that I am truly satisfied with, so it was nice to hear Meeks reflect on his editing process, especially as it relates so closely to my work.

Figure 1: Furlong; adriana dreaming {the dark blue ocean of pictures} / Raymond Meeks

Figure 1: Furlong; adriana dreaming {the dark blue ocean of pictures} / Raymond Meeks

Figure 3: middle air / Raymond Meeks

Figure 3: middle air / Raymond Meeks

I have also found some of his work that depicts human influence in domesticated areas. Such as his images of someone mowing their grass. Again, very much like is sequencing a layout showcasing a simple task that most people with garden do. And if I can work with others in their garden for part of this project, I too would like to capture simple garden activities that are done in the garden, showcasing how people use the land they have compared to public areas...if there is much difference.

Figure 2: Middle Air / Raymond Meeks

Figure 2: Middle Air / Raymond Meeks

References:

Meeks, R., 2020. Raymond Meeks. [online] Raymond Meeks. Available at: <http://www.raymondmeeks.com/> [Accessed 30 June 2020].

Surfaces & Strategies // W. Seven // Thinking about pages //

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Louis Reith

I originally saw this work as a serious of photos published in a beautifully simple bound book. However the more I think of my work displayed beyond a single or series of framed images, the more I want to book to relate to how my work is presented. Louis Reith was the first to grab my attention. His monochrome Décor - made from old book pages and assembled to function as a new visual story that he wants to represent. I don't feel the need to do that, I am more drawn to the collage style and printing methods he uses. I like the very basic approach of the printing, that allows there to be more freedom when creating the layout and images, without it being too overwhelming and messy.

Though I have not had much of a chance to start putting a book, I intend to experiment in the next few modules.

reference : http://shelter-press.org/louis-reith-decor-sp071/

I have also started to think about layering and using different page sizes and papers for my publication. I think by combining different, sizes and paper, it will give the book a unique feel to it, and possibly a very direct extension of certain buildings and Land I visit.

Reference: Grant-Harder


Surfaces & Strategies // Contextual research // Reflection

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"I think of my life’s work as a celebration of all of nature, an orchestra that plays not the sounds of one musician, the music of one species, but rather an expression of all of nature’s songs."

- Gregory Colbert

Gregory Colbert's’ Ashes to Snow exhibitions, has long been an inspiration, mostly because they are so immersive.

The work that he creates is very intimate, bold and moving, and I think that allowing people to really feel the full expression of his work an immersive experience is the only way to really do so. I also feel that when you create such an experience, it opens up the work to more people and a wider audience, as there is a draw not just to the work, but to the event its self.

When I come to producing my own work and creating an experience, realistically I will not be producing a show on such a scale as Ashes to Snow, but I want to take elements from it. I want to be able to create spaces that are intriguing, intimate and open to a verity of people.

Creating small structures that could be placed almost anywhere, at this stage would be very doable.

Have something small with minimal materials will be easy enough to construct and place in a public space, where it would be accessible to a number of different people.

I have been thinking about producing a small exhibit with 3-4 images printed and presenting them in some sort of fashion such as the examples below.

Surfaces & Strategies // W. Five course work // Roadmap // Refection

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Roadmap

Title of work: High Desert.

Keywords: Land, Community, Interdisciplinary, Collaboration.

Methods and methodologies: With this project, I will be exploring high desert areas in the American west (California, Arizona, and Colorado ) I wish to do so with of mix of techniques, such as digital, 120/35mm as well as cyanotypes.  
These images will range from environmental portraits to landscape within the communities I will be visiting.

I feel that this approach will offer a wider perspective of the subject and hopefully and alternative approach to straightforward documentary photography.   

I have also considered producing a few short videos that will help document the people and surroundings, as well as show my process. I hope to do this with my creative partner Mae Frances, so I can focus on producing images for my project.

Number of shoots: I intend to travel to my chosen locations and spend a few days shooting at each.

Outcomes:
I plan to produce a number of images with my chosen mediums that will be made into a publication and exhibit. 

The relationship:
All the work produced relates to my final project and is allowing me to explore, and connect with people within certain communities  I am visiting as well as the approach and techniques I want to use during this project. I feel that is helping refine and explore new ways of using digital and alternative process alongside each other. 


Surfaces & Strategies // Contextual research //

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JACKRABBIT HOMESTEAD

After my first trip to Twentynine Palms, I came across Kim Stringfellow. Her work explores the Mojave desert. The Jackrabbit Homestead, in particular, caught my eye. They are a collection of mostly abandoned shacks left from their former residents, who received the land from the US government as part of the Small Trace Act of 1938.

Stringfellow spent time documenting some of the abandoned houses as well as interviewing local residents, historians, and artist, which reside in reclaimed structures and use them as inspiration for their work.

This led Stringfellow to produce a photobook, photographic exhibit, and web-based multimedia presentation featuring a downloadable car audio tour exploring the cultural legacy of the Small Tract Act.

This work and other projects that she has worked on, has greatly inspired how I want to approach my own work and allowed me to truly think about the presentation and methods that I could use to present my work and make it accessible to multiple audiences.

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