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Six responses to the given brief of “Image Making”, a collection of analog to digital stills, conveying the relationship between adolescence and mental health. A document of myself revisiting a location with significance past and present. Visually, the outcomes reflect abstracted portraits of myself in the midst of a clouded eye from static states, henceforth the title. Emulating honestly towards the staleness of an anxiety disorder, evidently questioning the decisive moment recorded.

Engaged by Fiona Tann’s use of found imagery, in which relies upon our own recognition in a means to portray identification of the figures. Bonded with my own subject matter in relation to mental health and the role adolescence plays, heavily influencing the direction of rekindling with past family archives. Now comfortable with numerous formats with experience from previous units. Test shoots ranged from 35mm to 120mm whilst documenting archival footage through digital practices. The merge of medias expanded upon the eyes perceptive, breaking away from conventional layouts and forming responses with can be conceived as a crossover to fine art practices. Including stills adapted from the 8mm film adds depth in regards to context, an inkling to the past. Mostly proving to my success in regards to the concept, yet in reflection further exploration of other environments would of only emphasised upon the debate in question. 

An overall portrayal of myself reconnecting with an area of significance, displayed as diptychs streaming narrative and the fragility although short lived of depersonalisation. Yet, to be acknowledged the responses are not to be perceived as vulnerable, only to show clarity in regards to methods of combating “low spells” whilst reminiscing in the past. An almost homage to my fathers obsession of documenting my childhood daily. The juxtaposition between the six outcomes reflect a subverted reality of reconnecting with youthful moments. The sentimental properties manifest distinctly throughout the series unavoidably, a timeline of events and a continuation upon the archive already in motion. 


Spreads taken from the finalised design, entitled ‘Static State’. Referring back to the discussed brief, now a timeline of events whilst archiving the 8mm footage. A minimal design without text avoids any means of distraction or bias context to the work, leaving openness for the onlooker to engage with whilst interpreting the outcomes for themselves. A document in support of the final photographs, exposing the essence of a place with previous mean whilst forming a diary to the occasion. Noting obvious comparisons between my father and self, joining the connections between the past and present. 

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Taken ten years prior to my own arrival, these arrangements are insights into the events beforehand, forming narrative upon the revisitation of imagery and subtracting the images from their original context through diptychs, questioning the relationships between the subjects and myself whilst projecting my own perspectives as the outsider in. Regarding the success, the outcomes prove only as a means of exploration linking to previous documentation of family archives and Fiona Tann’s inclusion of returning to found imagery. A possible layout to consider in finalising image choice. 

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Currently on display at Whitechapel Gallery in London, Terrains of the Body showcases contemporary women artists who embrace the female form in a means of self expression. In particular, Rineke Dijkstra a Dutch photographer living and working in Amsterdam. Whose works convey youth, shot with fill flash located upon beaches. Unavoidably the subjects reflect awkwardness of their adolescence, the uncertainty further blown to a larger scale for us as the audience to exploit and inspect into. Alongside, Hellen van Meene a photographer who also approaches adolescence. Projecting nostalgic essence to their current setting yet hindering the truthfulness of growing up through prop. In reflection, both photographers are of support to chosen concept in regards to the role our childhood plays. Despite disparities between our own work, contextually I am able to apply simliar theory to my practice in terms of youth. 

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Wolfgang Tillmans, currently displaying at Tate Modern. Known for his contemporary photographs of the banal and large installations of prints clearly demonstrated upon visiting the exhibition myself. Including photographic prints beside video, sculpture and sound. Tillmans encourages our participation into the current, submersing us with constructs politically and socially. Taken from 2003 to present and built upon emerging global affairs contextually. In particular, Callum 2011 – a portrait of a subject with focus upon details of the body, evidently the neck. Drawing attention upon detail, in relation to the vulnerability of the human form.  Encouraged by Wolfgang’s arrangements of work in terms of scale and attention to layout, production of the zines will replicate simliar organising, taking note of scale in relation to opposing imagery and how to stimulate a narrative response. 

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8mm film stills taken from family archives, documented by my father in 2005. Re-recorded using a Canon 5D Mark ii, holding off on aperture to play again upon motion blur with means to challenge our perspectives whilst reflecting nostalgia and cinematic notions. Previous test shoots involved depicted myself in an environment of past significance being the local reserve, where the 8mm film had also been recorded. This crossover interlinks the concept discussed in regards to documenting the role adolescence plays in relation to adulthood. In hindsight, I can vividly recall my father filming myself and sister’s childhood seamlessly. Perhaps my lapse in revisiting archives currently and resulting in producing outcomes in regards to mental health. As shown, my father opts to use his own hands to set the cameras focus, an uncanny relevance to the shoots taken previously by myself. Yet,  it cannot be helped to question my fathers approach and frame of mind, most of the archives are never shown today. As if he had missed the moment over his obsession with documenting. In terms of progress, the stills piece together the conceptual element of wellbeing whilst hindering an abstracted state of mind, as if from my perspective.