Following the previous shoot regarding flower sentiments, shot upon 35m within the proximity of my home and surrounding garden. Outcomes correspond between the outside and in whilst amidst the placement of specific flowers presented by myself. Somewhat suggesting an invitation or offering to the environment/viewer to participate. Incorporating the use of a glass paper weight again to blend light, withdraws sections of the compositions whilst challenging the viewers perspective of the moment, stimulating an unconscious state. With movement provoking a sense of passing, hindering the previous projects adaptations of growing adolescence. To expand upon future shoots, subjects will be introduced beside myself with consideration to the narrative in question and the relationship between form and fragility of flowers.
American artist and fashion photographer, applying the use of prop within her practice to communicate the drift between object and nature. Displacing flowers from their situated state, hard lighting intensifies the corral beauty of their delicate structures. Notions simliar to previously discussed reflections. Such use of withdrawal of form emphasises the significance of the flowers, methods to combine upon my own practice in further shoots. Formulating conceptual formats regarding the sentiment of flowers in relation to the presentation of oneself.
A collection of Tarkovsky polaroids, taken to preserve sentimental moments in time. Provoking nostalgia in-between glances of words and imagery, a journey of Tarkovsky’s cinematic eye. With consideration to light evident, still life amplifies throughout impressively in regards to the medium used. With such control in coloration to the layout of text to image, my own practices will continue to stimulate simliar notions in regards to narrative with support from own textual reflections.
Pursing adaptations of flower sentiment, shot upon location through 35m. Outcomes introduce close subjects alongside myself, predictably presenting flowers to stimulate contextual intentions in regards to provoking narrative around fragility. Witnessing the stems frail nature by demonstrating their attempts to withstand waters. Withdrawing part of the frame with a floral paper weight transcends light and colour balance casting age to the series whilst enriching the grain. With consideration practices will continue with subjects, specifically female whilst fixating upon hands as a means of presentation in coloration to form.
To quote Bataille ‘the flower expresses an obscure vegetal resolution’ (Bataille and Stoekl, 2008:10) relating to the presentation of blooms as a gesture. The visual properties of flowers offer a significant reflection of emotion, disregarding ones actions optimistically. Yet ‘the object of human love is never an organ, but the person who has the organ’ (Bataille and Stoekl, 2008:11), to say such an ephemeral offering perhaps overrules and validates behaviour yet only amplifies our reliance upon appearance to interpret heart. To introduce context to work currently produced with encouragement of recent readings of Bataille, brief insights to flower sentiments support narratives upon the presentation of oneself through stems. Notions provoke emotive sensibility to minimal imagery, examining the correlation between subject and stem.
On the basis of previous feedback in regards to shooting wider, current work evolves around narrative of flower sentiments documented by 35mm. Continuing with previous use of hands as a method of projection of oneself, whilst combining as a means of presentation of the gypsophila. Compositions hinder simliar portrayals of Mona Kuhn’s abstracted forms within frames. Flickering between the outside and in, familiar settings provoke narrative around fragility of flowers. The stems mimic the presentation of passing over a bouquet to another. Granted not an evident concept, yet with further research the project will evolve around the language of flowers in relation to personal adaptations of their means. With consideration to light and experiments involving prisms to retract elements of the frame.
Mona Kuhn – an artist and photographer whose latest series entilted ‘She Disappeared into Complete Silence’ plays homage to Louise Bourgeois, depicting hazy intimate portraits of the nude projected onto given architecture. Distorting our perspective of the form whilst evidently encouraging the viewer to engage upon the obscure reflections. Enticing narratives with use of juxtaposition of nature to given compositions, enclosing the subject within constructed frames. As if an onlooker to the surreal yet uncanny reality of Kuhn perspectives.
A fine art photographer who combines imagery in coloration to subtle wording. Corresponding photographs to said words whilst demonstrating upon the role text has in relation to image. Kawauchi evidently displays enriching yet relatable projections of the fleeting presence of the everyday. A simplistic perspective poetically enticing beauty supported by the monologue, balancing the often overlooked fragility of reality. A reflection of herself whilst encouraging the viewer to be absorbed by the world portrayed. Said adaptions can be seen in past practices of myself. Linking to the vulnerability of adolescence in the previous brief, whilst combining an alternative perspective of reality. To continue, perhaps incorporating text besides own imagery will support narrative whilst introducing an apparent emotive aspect.