Bibliography

Higgins, J. (2013). Why It Does Not Have To Be In Focus: Modern Photography Explained. 1st ed. London: Thames & Hudson Ltd.

Kawauchi, R. (2005). the eyes, the ears,. 1st ed. Japan: Masakazu Takei (Foil Co., LTD.).

Hawlin, T. (2017). A Photo-Series About Modernist Buildings and the Female Form. [online] AnOther. Available at: http://www.anothermag.com/art-photography/9716/a-photo-series-about-modernist-buildings-and-the-female-form [Accessed 7 May 2017].

Bataille, G. and Stoekl, A. (2008). Visions of excess. 1st ed. Minneapolis: University of Minnesota Press.

Francis, M. and De Waal, E. (2012). Cy Twombly. 1st ed. Beverly Hills: Gagosian Gallery.

Twombly, C. and Friedel, H. (n.d.). Cy Twombly – Ausgewählte Fotografien. 1st ed.

Chicago, J. (2006). Through the flower. 1st ed. New York, NY [u.a.]: Authors Choice Press.

MACK. (2017). Blumen by Collier Schorr. [online] Available at: http://www.mackbooks.co.uk/books/770-Blumen.html [Accessed 8 May 2017].

The Photographers’ Gallery. (2017). DEUTSCHE BÖRSE – The Photographers’ Gallery. [online] Available at: http://thephotographersgallery.org.uk/deutsche-b-rse-photography-foundation-prize-2017 [Accessed 8 May 2017].

FINAL SUMMARY

A selection of 35mm responses to the given brief set, examining narratives of flower sentiments and the relationship between self and object. Flickering between the outside and in, the depictions portray the fragility of flowers and subject. The stems securely held mimc the passing of a bouquet to another, somewhat suggesting an offering to the onlooker as if the purpose of the work is to resolve projected discretion. Engaged by Tarkovsky and Kawauchi use of text in relation to imagery, the website produced entitles each set after search engine results for flower sentiments. A play upon the resolution flowers yield in terms of resolving human error. Reflecting upon the website built, perhaps with more time text would be included to support the sets. Yet, I am uncertain if sensible given the current body of work uploaded to the website, having selected Cargo for its minimal design layout. Overall having developed me own presence within photography as a medium, finding balance between shooting for the requirements set whilst for my own leisure. To expand shooting with medium format would allow for comparison yet for the rapidness of such a short project, 35mm granted myself the flexibility to shoot in motion without any limiting tendencies.

CARGO | WEBSITE

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ZINE | COMMONPLACE

A combination of dialogue based upon the written sentiment of flowers and imagery. Entitled ‘commonplace’ to provoke a relatable approach. Noting given feedback of the last unit in regards to the previous zine lacking text. Therefore including brief snippets to correspond images, linking to the narrative for the current brief. Encouraged by Tarkovsky and Kawauchi use of minimal layouts – simplistic yet direct to cease any distraction.

SHOOT V

An continuation upon previous shoots regarding the introduction of subjects, shot again on 35mm during a short cycle with a close friend. The use of a prism predominantly merges surrounding perspectives, simliar to past shoots mimicking double exposures. Granted, the outcomes combine the presentation of flowers to the onlooker yet conceptual lack the fragility desired.

SHOOT IV

Continuing practices specifically around other subjects besides myself, shot during a short ramble around a nature reserve locally on 35mm. The use of a prism rendered light, alternating perspectives whilst reflecting surroundings mimicking double exposures. Withdrawing from the use of flowers subtracted from the narrative accumulated within previous shoots. However unsuccessful, the outcomes do conduct youthfulness simliar to notions carried within past work.

CY TWOMBLY / PHOTOGRAPHS

Another collection of polaroids radiating the notorious abstracted forms of Twombly, a questioning between the unconscious state and reality. The studies narratively carry sentimental value, provoking emotion whilst documenting the gradual process to Twombly’s paintings. Granted, simplistic yet with reason to the medium an admirable archive preserving the ephemeral.

JUDY CHICAGO / THROUGH THE FLOWER

Current readings of Judy Chicago’s growth as a woman artist, her dialogue notes the struggles conditioned by gender roles further suppressing her work, pushing herself to create the ‘woman’s programme’ to accommodate Chicago’s own practice whilst teaching other criticised females. An empowering insight into the hardships endured prior to present day, prompting personal morale to follow suite without suppressing myself to the confines of gender.

‘I also could no longer accept denying my experiences as a woman in order to be considered a “serious” artist, especially if my stature was going to be diminished anyway by the male-dominated community.’  (Chicago, 2006:66)

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Sophie Calle | The Photographers’ Gallery

Currently on display at The Photographers’ Gallery, exhibiting a range of large scale works confronting death as a subject and the reality of the digital age combined. Calle’s installation contemplates past conversation juxtaposed to relevant imagery. An honest and raw reflection of a sensitive subject. Calle’s splay of dialogue compensates the proportion presented. A physical element to the current project which is unrequired, yet with text running present throughout current research, constructing a zine will incorporate the use of text image relation as inspired whilst supporting given concepts.