Week-26-Project Development: Final Week (Assignment Week)

As the MA draws to a close[ ‘the time has come, the walrus said.’]  I have been working diligently on my FMP presentation. One thing that I found very interesting, is that there are changes and developments on the project even after the exhibition is done. I have reconsidered the order of the images and made a few changes for the assignment compared to the exhibition. Some titles have also changed. Writing the CRoP really made me re-evelute a lot of things. My idea of how the exhibition would go, to how it actually went, is eye-opening, I discovered there is approach even within approach or as Gödel proved;  there are multiple infinities.

I can only presume that any project is a living breathing entity and can only approach completion and will never reach that absolute while the artist is alive or beyond.  This once again makes me cheer and embrace Gödel’s Incompleteness Theorem that proves there is no closure or absolute in anything;  there is only a tendency. I am happy to say, that I am done with absolutes in work and play, and as long as I can approach my dream, enjoy the tendencies of the dream I will have achieved a goal. This leaves the artist with options, a place to go. I began the MA with abstraction, that was deaf and mute, and ended with abstraction that has my own voice. That’s the abstract of it.!

“Is the journey hard?  Yes, till the very end. Will it take long? All day and all night my friend.”    -unknown.

Or in terms of the venacular: – Out of the one forest, into the next!


Week-25-Contextual Research.

When I met Dr.Steph Cosgrove at the beginning of the MA, her advice was READ,READ, READ.  Dr. Wendy advice is RE-READ.  It has been amazing to reference old material from the past. It seems to help with information popping up almost magically as needed when rereading!


The work of Frutiger I found particularly helpful, Although it came up while writing the CRoP, I found parallels in my thinking to his actual work.   This may stem from the fact that he was a theoretician, as well as a practical designer of typeface. He worked from the mechanical era all the way through the digital age and what I like about his work is that the theory and the practical become one The blending of the mental abstract(idea) to the physical object(type block) something I have been trying to attempt with my own photography, and just recently succeeded at.

In Signs and Symbols, Adrian Frutiger positions himself ‘closer’ by (show and tell) He writes. ‘We live in an age when there are many ways of converting what is a thought into visible form’ he goes on to tell and show how it’s done: ‘by placing one-colored ink on white paper.’ 


(Frutiger, 1928,   p. 21.)

Frutiger takes abstract forms (blue ink) and creates a new visible form by through idea of changing their proximity.   Clearly his idea produced a created image with an adumbration of the idea remaining, albeit highly abstract. The problem I encounter here, is that the image  being almost pure abstraction provokes no feelings even if the idea it self, can be regarded as beautiful. As I look at this work, I realize that some pictorial or representational elements in the image needs remain, or be additionally applied, if one is to actually ‘feel’.  Ideas transformed into feeling and beauty are elements that are vital to my reach.



En.wikipedia.org. (2019). Adrian Frutiger. [online] Available at: https://en.wikipedia.org/wiki/Adrian_Frutiger [Accessed 1 Dec. 2019].






Had a good 1-2-1  with Dr. Wendy. Went over a pre CRoP document I sent in. Recommendations was to steer it more in the direction of my own work as opposed to referencing other peoples work. To focus on the Project.  It is amazing to realize, even at this late stage, that remanants of that fence, shadow, and the  doldrums still persists. Breaking away from those old influences and magnetic attraction, even though it has weakened is still near enough to draw one back if not careful and aware. Just because one cannot see it, does not mean that its not lurking somewhere out there! The invisibles always remain.

Wendy mentioned something interesting, that the function of the CRoP is to help break away from those attractions, and that it will take time, and this is still the early stage of development. Is a PhD required next?

Week-25-Project Development.

As the MA is drawing to a close, and my assignments are due. Any further development on the physical part of the project has been completed. The CRoP is the associated document. This week, I have been writing and working on the CRoP and trying to bring it in with in the guidelines of the assignment specifications.

The exhibition has been held and felt it was a great success on the personal level.I achieved what I had set out to do. Entering the cave, the journey the road as a representational photographer and exiting an abdtarct photographer with a story to tell. My intention is to submit to galleries and museums (some small ones to begin with) and take the show on the road.

I intended to make my own book, however, I have not had the time to do it. I could have had it done by someone else, but decided against it. As I did for the rest of this project by making my own prints, framing and exhibit walls.  Of course, none of it can be achieved completely alone, and  was not my intent. I merely wanting to  transform the mental into the material, the true alchemists dream. Turning lead into silver, or copper into gold, was not the true mission, it was the increasing of cognitive powers, moving from a lower state of thinking to a higher sate of thinking through materialization of the thoughts and ideas. A good example would be going from the idea of transmitting a message through the air, was finally achieve by Marconi at the turn of the century. I wanted to move from the represeataion to the abstract  to deliver a message of the mind.


This week I will begin to making my own book. I have decided not to have one made at this point. I enjoyed doing the exhibition and feel that it would not serve me well to have some-one else make my book.

I have made all the 5×7 prints and will purchase some vellum and type the tiles of the images on the it will be see through and lay on to of the images. The covers will be made of cardboard and black


1-2-1 With Wendy this week.

Information discussed: The themes of the FMP  My is creativity/fences and the road.  My difficulty has been how to integrate these three themes into one in a streamlined and co-hesive way. Today I had a breakthrough with that, and this may be a direct result of finishing my pop up exhibitions.  I came to some interesting realizations yesterday after I had time to reflect on my exhibit, and let the whole experience gel a little bit.

As I have been working on the printing, framing, constructing and exhibiting the images, it has been very challenging and time consuming. However when Dr.Wendy mentioned the road as being symbolic of the journey, I came to realize that its all been a journey. The search for creativity, the problems and fences long the way, and the exhibition allowed me to find the gate, the exit to the cave and the labyrinth. And this was a journey along a road all the time. As I reflect back, I have been on the road since the beginning of the MA, so it has encompassed all or it. Now the new road lies before me where all this information has been synthesized into a new cohesive whole.

Also discussed the choice of my exhibition why I chose the gallery setting. This for me has been the manifestation of my ideas in a public space. My ideas have been locked in books of negative files, and computer files for years and years, and they needed to be printed, exhibited and aired out in public in a space for a period of time. Which is what I did.


Watched the Visiting Artist recording of Caroline Malloy to-day, to find out more how she researches. I was quite surprised to find out that at the beginning she was quite confused but eventually managed to worj her way through it. It seems that a lot of people have diffiuculty with research and how to begin projects, but as it moves along it seems to work it self out.

Week-23-Contextual Research

With my pop up exhibition behind me. I have to think about the next one. I am very happy to haven had an abstract exhibition, and finally cross that fence that has been a barrier in my work for decades. I feel that my exhibition  has opened new roads, to new projects, it has freed me up in a way and set me on a new course: The open road. A new journey begins.

I am a great advocate of Kurt Gödel * who proved mathematically that 2+2≠4, it has a tendency towards 4,  and therefore not absolute. Between the tendency and the absolute, infinite variations exist (right that the very approach of 4)

This information can be applied to almost everything in life where one expects an absolute. I thought that abstraction is the absolute, but as a result of the MA and my FMP, I have finally come to the realization that abstraction is not and absolute but a tendency.  I have therefore changed my final image title from “The Dream” (absolute) to “Approaching the Dream” (a tendancy) in honor of Gödel.

My dream to exploiting abstraction as a means to communicate ideas and beauty at will, was aided by work of the mathematician Kurt Gödel.  Gödel, in with his Incompleteness Theorem (Plato.stanford.edu, 2019) showed that the absolute and closure is not possible; there are only tendencies. Therefore, if I presented my theory on the actual cause of (Fig.11) Encountering the Muse as an absolute or closed system, I could not prove it. However, there is enough information and reference to speculate its tendency to be ‘possible.’ The truth that perception and vision are largely dependent upon past experiences, has been recognized for centuries.” (Huxley, p.104) 

As a result of Gödel (and other information) my living for closure [in life and art] began to cessate, and hereby decided to explore incompleteness  and tendency in my own work. My “artists equation” on ideas as an approach or tendency towards beauty in abstraction hypothesizes:  [i+ i + c+(p+t)(e)±o] + m + x + ∆+ i ±ßƒ    a  that an idea can be asymptotically equal to abstraction  () by the addition or subtraction of representational/objective information (±o) to an existing image ( i ) at will. The  constructed abstraction (a) can be edged towards or away from feeling (ƒ) and beauty (ß) by this means.  If hypothetically, an idea ( i ) occurs  to remove the shadow and line(-o) on the sand dune, this change (∆) to what already exists as an accidental simulacrum of the muses breast and arm,  the womanhood and beauty of that image would disappear completely. (ß=0) and instead of being the muse, or the form of a woman, the image would approach another ordinary meaningless abstract image without feeling (ƒ=0) and without beauty (ß=0).  

Realizing the value of the line, and increasing the contrast of the surround and of the shadow on her breast (+o) plus experimentation (e) with changing (∆) the orientation of the horizontal sand dune to the vertical, and adding a mystery element (+m) the tendency of the viewer to perceive the image as an abstract with a beautiful female form, is in the high percentile. (For example Fig.11; Chemaly©) And, this is achieved with a completely constructed image. The unknown factor (x) (the barrier, the fence) has been identified and dissolved by this time: The dissolution is, realization that: An image need neither be abstract or objective, rather a combination where either/or multible images can be quantitatively increased, decreased, changed, experimented with to accomplish and abstract image with feeling and beauty portrayed. Application of formula  [i+ i + c+(p+t)(e)±o] + m + x + ∆+ i    a ߃  can be applied to any photograph.     






Looking at the possibility of working on a documentary on the homeless of Los Angeles after the MA. I will be revisiting the work of Richard Avadon. I really like the way he photographed the people’s portraits.  The homeless situation has been documented to death, but I feel there is always a new angle to approach the situation. I will be approaching Sarah Levy to see what the opportunities are to do a photo series.  I would love to do the series in black and white either on 6×6 with my Hasselblad. The square format is very representative of the box, and once again, these homeless individuals are in a box that they need to get out of or be rescued from.





Week-23-Project Development

Exhibit Nov 17th Hollywood Sculpture Garden and Gallery.

Sunday the 17th was my second my pop up exhibition. The curator informed me that he would like to do do a second one. Of course it was good news and was very pleased at the fact. The event was later afternoon and  better turn out. Even though I had a good attendance, people arrived one or two at a time. This actually worked out well becuase I was concerned that they would not be able to fit the 10ft by 10ft exhibit area and fully appreciate the images.  But for the few odd occasions where there exhibit got crowded, most of the time there were one or two people three at most in the area and it did not impact them looking at the images, or getting in each others way.

Fences exhibit: Photo by: Pierre Chemaly©
Fences exhibit Nov 17th. Photo by: Pierre Chemaly
Fences exhibition Nov 17. Photo by: Pierre Chemaly©

One thing I did learn from this exhibit is that a big viweing area is important. My exhibit would not have been able to accommodate more than two people at a time without them running into each other. On the whole, other than a few times, it worked out well, but will take into consideration on future shows.

I did get mixed feedback. One viewer came, looked and left almost immediately. He said: “I’m a landscape photographer and don’t get any of this”  Another viewer sent me an e-mail:

“Really loved your photo exhibit today! Your photo art was beautiful, mysterious, dream-like, moving. Love the abstract graphics. Not just pretty pictures. Captivating.  The theme of fences and getting out of one’s own way spoke to me, and how!  Getting my creativity and general attitude “out of the box” so to speak is timely for me now as I’ve been wanting to move in a more abstract direction with my photography and take some risks Dammit!!”

Some people did not comment they preferred to remain silent. One girl seemed very emotional almost teary eyed. Another person I invited is a brilliant recluse. His knowledge about film and art is beyond words. He doesn’t drive, doesn’t have much money, and lives like a hermit. He arrived very late. He took two busses and walked from Gower up into the Hollywood Hills to see my show. I felt very grateful that someone world do this, he went over and beyond what I could expect from anyone.  It was very touching moment for me.

Later in the evening there was a fund raiser for Sarah Levy, I attended her talk about the homeless is Los Angeles, and I felt very moved by her speech. Homlessness is at the elbow of many artists so it is a subject I am very interested in. The problem seems to be out of hand here in Los Angeles and getting worse.  Just at the foot of Hollywood Hills (some of the most expensive real-estate in the Los Angeles)  live individuals who have lost it all. They live in tents and on the streets under the Gower street bridge. I passed the homeless encampment when I set up my pop-up and when I drove home at night.

Franklin Avenue is the ‘fence’ between the have’s and the have not’s. Ethically, this is not right. Just below the Hollywood sign, where some have much, others have nothing.  Historically this is not new, it has been going on since the times of Kings who lived in castles, while below at the drawbridge, were peasants living in dire poverty.

I invited Sarah to look at my exhibition, and explained that fences exist in many forms and the one between rich and the poor is another one of many.  I presented a few ideas to her, and she suggested  I contact her through her campain manager, and should talk about the subject more.

This was nice to be able to do a show and tell. Show my work, and suggest ways I could help the cause through similar works.  Dorothea Lange came to mind as did Louis Hine. Richard Avedon with his series The American’ s also closed my mind. I was nice to be able to cross reference these hero’s of the past, who as artists raised the awareness of society to those less fortunate and in some cases, as is the case with Louis Hine, the total aboloshiment of child labour.

At that moment, I realised that I have crossed the fences in my life, and opened the gate to roads ahead that offer an infinite way of working as an artist in the field of photography. I have crossed the fence from representation into the world of abstraction, but why limit myself there, when there is so much that can be done.




Week-22-Contextual Research.

My work has finally culminated in the objectification of ideas and experiences.  I feel that through the printing of my own work, floating the image in space in the shadow box, embracing the natural curl of fibre base paper, I am approaching the objectofocation of ideas better than I have ever been able to do up to this point.

Like the alchemists of old, through chemical means attempting to change lead into silver and copper into gold, even though this was never the actual case, it was more of them coming out of the darkness (negrado) in to the light (albedo)


This week had a particularly good 1-2-1 with Dr. Wendy. Discussed a lot about the Crop. It is time for me really to hone in on the theme of my practice and able to get it down to a single tag line.

After giving it much thought, I came up with may practice is concermned with the dissolution of boundaries between my ideas and the creation of an image  through the medium of photography itself.