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?


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.


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.


Had a good 1-2-1 with Dr. Wendy. Everything for my exhibition is set to go. Got into discussion about the structure of my Crop, and the connection of the American Highway and my personal journey as an artist and photographer. I have been giving thought how to tie this in to my practice, and will be looking at the work of other practitioners who have influenced me in my work along the course of the me.

HWY-138 really held my attraction thoughout the MA and by the second module up until my FMP I frequented the HWY many times in search of inspirtion and ideas.  Along the way, Fences took my fancy, initially they were physical. The beauty of the the barbed wire along the highway.

As I began to travel the road more often, I began to notice signs and symbols that began to intrigue me. A beer bottle strapped to a fence with wire, an old boot propped up on a fence post out in the middle of no-where, a california license plate someone had tied to the fence, a bottle of wine in an old tee-shirt. The highways has a way in and a way out. All along the way it is fenced with as many types are there are numbers in a phone book.  They all had a few things in common. Firstly, they can all be seen through, and second, all fences lead to a gate of some nature, where it be a physical one, a place where the fence was cut, holes in fences, or where time had rusted them away. From this aspect, I came to realize that fences are not permanent, one can always see what’s beyond the fence, and that there is a way in and a way out.

Some of the greats who have travelled and lived along that highway are David Hockney, Alfred Hitchcock, and Aldous Huxley. Every time I travel that Hwy, I think of them. The road with its varied terrain  from rolling hills to high desert is a real good time to contemplate life and art. The HWY has a very strnge kind of beauty that is difficult to explain. But the summer heat is really very unique in the California desert.


David Fathi:

His work on Henrietta Lacks really interested me. Because he had an interest in her story for a long time, he wanted to work on a project but did not know how, so he started researching and at the same time started a road trip. Between the hospital and the cemetery where Henrietta Lax passed awaything on. He used the road as a metaphor for a lot of ideas. eg the great distance between the hospital and the cemetery was 400 miles and the same distance between the time that her cells were mortal and immortal, the scientific wonder and the political problem and the ethical problems. I find this very applicable in my own practice and have searched the road for the answers.  The individual is already well researched, a book had been written on her life* so he wanted to find something on her that had not been explored or written about. And wanted to find a way to interact with it in a different way. Exploring the space between mortality and immortality.


*Skloot, R. (2011). Book Club kit. New York: Broadway.



Had a good 1-2-1 with Dr. Wendy. She suggested that I start working on my assignment should consider the ‘road’ as the theme for my CRoP. To take a look at the work of Ed Ruscha,

Ed Ruscha’s – Every Building on Sunset Strip.- 1966 © Image courtesy of: www.getty.edu

and explore the works of film makers and other artists. I had mentioned that HWY-138, a rather famous American Highway, had spawned the idea for my project: ‘Fences’ formed when I drove out to the location where David Hockney’s photographed the elemnets for his collage he made in 1982 at the crossroads of Ave 165th East and Hwy 138. I always return to regions where great art is and was made, from ancient Greece to modern HWY-138, and places in between.

David Hockney © Pearblossom Hwy., 11 – 18th April 1986, #2  Image courtesy of www.getty.edu

Here I find inspiration and in some way get in touch with the spirit of the artist, just by knowing that some-one who I admire, has roamed around the very spot I stand.

Map of HWY-138
HWY-138 Polyptych Photo by: Pierre Chemaly © (The place where Hockney made his collage-as it is to-day) The red traffic light, replaces the stop-sign.

While driving this highway, also known as the Pearblossom Highway, I began noticing symbols and signs that interested me. Traveling, be it a highway, seaway, or any other means of getting from one place to another, stimulates ideas and at the same time is a period of relaxation and incubation that allows these ideas to ferment. The eyes and ears and all the senses are the yeasts of the brew and the senses stimulate thoughts and the thoughts become concepts and the concepts become the materialized form of the ideas.



David Hockney Collage:  The J. Paul Getty in Los Angeles. (2017). Pearblossom Hwy., 11 – 18th April 1986, #2 (Getty Museum). [online] Available at: http://www.getty.edu/art/collection/objects/105374/david-hockney-pearblossom-hwy-11-18th-april-1986-2-british-april-11-18-1986/ [Accessed 28 Oct. 2019].

Ed Ruscha:  Getty.edu. (2011). In Focus: Ed Ruscha (Getty Center Exhibitions). [online] Available at: https://www.getty.edu/art/exhibitions/focus_ruscha/ [Accessed 28 Oct. 2019].



Just had my 1-2-1 with Dr.Wendy.

Very helpful and guiding as always.

Suggestions included to do this week:

  1. To prepare a pdf and submit an installation plan of my images for my upcoming exhibition.
  2. To submit a selection of my images that are unedited, and in grid form, so that the images can be looked at together. This allows for a quick overview.
  3. To think about pairings. as well as (3,4 and 6) groupings, that I think may work well on specific walls.
  4. Be prepared to discuss possible groupings, and to put these together in a pdf form.
  5. To consider the role of autobiography in my project and how or if  this might be stitched in to the text and any press release etc.

All this information provided by Dr.Wendy will be used this week as  a lodestone to point me in the direction I need to go with the exhibition.


This is the beginning of the second module for the FMP. I had my 1-2-1 with Dr. Wendy, which went very well.

Over the break, it seemed as if everything finally gelled and formed into place. I completed my series of images to present to Wendy and  for the FMP exhibit/Assignment PDF. consisting of 16 images. The experimentation period is now done, and the next stage is to begin making the fibre prints for the FMP and my book. The FMP images will be 11x14inches and the book images will be 5x7inches.  These are all going to be done by my on hand, so a lot of work lies ahead. I will also be framing them myself in 11×14 floating frames.

I do have a place to exhibit: At the Hollywood Sculpture Garden and Gallery in the Hollywood Hills, by the kind offer of Dr. Robby Gordon whose sculpture and artwork is exhibited there. I am in the process of getting a book made, so need to get those elements to the binder.

Dr. Wendy made some very good suggestions to improve the presentation. Which I will work on this week. But one I really like very much, is to put the artist statement at the end of the book, and the PDF submission, to let the images and the associated prose work freely as opposed to being set up by the artist statement.   I may use this idea in the same way for the FMP exhibit, by giving the viewers the brochure/statement when they leave, not when they arrive. (just a thought) but do not know if possible or even a good idea. will discuss with Dr. Wendy as well as Dr. Robby.

Just got of the Phone with Dr.Robby of the Hollywood Sculpture Garden abd Galley.  I have set an appointment for next week, to go and discuss the installation. He offered me November the 14th, so it’s not too far away and I will begin working on my presentation prints and fine t uning my presentation at this point.  I feel I have come far enough with the testing of everything as well as the series of 16 images. I may cut them down for the exhibition, I do not know as yet. I forgot to ask Wendy what the minimum is. Less is best, less is lazy, I have not made up which it is yet. But I do want to have a bit of a safety valve.

Wendy suggested I attend the Victoria Forrest talk on October 1st;  as Victoria is very good with book presentaion and may be very helpful in getting my book and the series into a presentable edited form, so I will attend that.

I am still doing my printing re-fresher at Santa Monica College with Ed Mengus, and I will most probably start printing my book images there, and my final images at home in my own dark room. I have three more sessions there on Sundays, and if he offers the class again, I will sign up, that way I have two darkrooms to work out of, plus feedback on the prints if I need any, it is available from fellow printers and of course Ed, who is a wonderful photographer and printer himself.



Had a GREAT 1-2-1 with Dr.Wendy.  She has a great way to reel me in when I go out on a tangent. She brings me back in focus on:  Work! on the FMP and how to do the best work possible for the exhibition.

Areas to focus on are:

  1. To keep my CRJ up to date. She mentioned that I was doing that, as evidenced by her looking at it in our 1-2-1 and seeing my entries.
  2. To included ongoing research, written and visual, on my work and on other practitioners.
  3. To make work this next two weeks for a show and tell on next meeting.
  4. Present a PDF in our next meeting, both images and writing and text, Wendy wants to see the text of the images.

The concept behind the PDF is to start sequencing the work, and to Riff on images.

Wendy introduced me to the work of Stephen Gill, I ordered his book and looked at his website, I like the way he groups his projects onto one page, then they expand out into the gallery.  Simple, clean website, just the way I like it.


This week had a 1-2-1 With Dr. Steph. Discussed elements of the FMP. Was advised to ‘Think forward” about the upcoming project and how to think and work in-terms of something that has not happened as yet. By experimenting the work begins to form the concept in terms of practical work. I am working on the project every single day in one form or another, whether its creating/building a new image, making photographs, or planning the gallery or space exhibit.

Dr. Steph recommended that I look at the work Hamish Fulton. ‘the walking artist’ because he uses text with image. This has become very important to me as I feel it’s vital to get the message across, however without being too literal, the audience has to figure part of it out for themselves.

Hamish Fulton:  Fulton, Hamish (2007). Interview with Peter Lodermeyer for Personal Structure (PDF). Time-Space-Existence. p. 181

Hamish Fulton Tate: https://www.tate.org.uk/art/artists/hamish-fulton-1133