This week had a 1-2-1 with Wendy, went well. What I am most pleased about it Wendy’s ability to keep me on track. That is to focus on the work. She mentioned wants me to keep on shooting new work, and to start writing down my thoughts about my work, in terms of a book. Mentioned that she enjoyed the work more when it was accompanied by an explanation.
I have long agreed with explaining the work, I think this is the basis of conceptual art, that the artist explain what the work is about, as opposed to the audience ‘figuring it out for themselves’ Since beginning the MA, I have come full circle on this, i.e. explain what the work is about. Abstract photography is very difficult, as it is with abstract painting to figure out what the artist is trying to express without some form of insight into the work. Thus the value of the artist statement, the image title, and the image caption. I think now, that if I would like my readers to comprehend the work, they need to be given clues.
Wendy recommended that I look at the work of poet Ian Hamilton Finlay, a Scottish poet, writer, artist and gardener. I understand the gardener part now, it goes one time to breath, to get away from the domain that dominates ones life 24hrs a day. So I have gone back to painting, this gives me a break from the photography, and it is also very relaxing and inspiring.
Had a group session with Paul Clements, he was my tutor on the last module, and he was very helpful in helping me understand that art is about destruction and reconstruction, this together with shifting my perspective a bit from hunting to farming photography, has helped me think about growing images and constructing them as opposed to going on the hunt which I was doing at the beginning of the MA ( ye good ol’ Brassai, Cartier Bresson and that ilke) The limit of the thought was in the moment, however as that has now been expanded to think first, then make the image, as opposed to the good old ‘decisive moment’ has changed my approach, not that I do not appreciate the representational image process, I do, however the abstract has always held my interest, but before the image farming process, I did not have a methodology in that wing of the building, so never explored that part of the image making process. Now with image construction, I am able to build an image on an idea. This has been most beneficial to me as an artist and in my practice. This module I am concentrating on the image construction, blending the old with the new, like the temple builders of old, they always incorporated parts of the old temple into the new one. So I will be using elements I have accumulated of the past years as part of my image construction, and go out and photograph new images and construct my photographs.