Week 21:

Henrietta Lacks: Skloot, R. (2011). Book Club kit. New York: Broadway. (2019). A quote by Louis Kahn. [online] Available at: [Accessed 5 Nov. 2019].

Week 20:

Keith Carter: (2019). Watch The Art of Photography Artist Series | Prime Video. [online] Available at: [Accessed 28 Oct. 2019].

Howard Greenberg Gallery: (2009). Keith Carter – Artists – Howard Greenberg Gallery. [online] Available at: [Accessed 30 Oct. 2019].

Week 15:

Cocteau, J., Buss, R., Bernard, A. and Gauteur, C. (1992). The Art of cinema. London: Boyars.

Dumont Dunes:

Charlene Matthews Bindery:

Week 13:

Ralph Eugene Meatyard:

Week 12:

Fahey/Kline Gallery:

Maco Ecomat Drying Press:


Week 11:

Stephen Gill:

* SASTP  Short Attention Span Theatre Patron.

Week 10:

Marc Valesella:

David Yarrow:

John Baldessari:

Stephen Gill:

Week 9:

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

Hamish Fulton Tate:


Weston Gallery Carmel:

Ansel Adams Mural Prints:

Anastasia Samoylova:

Week 8:


Residency Art Gallery:

George Eliot quote:

Kit White:

Jan Groth:

Week 7:

Ian Hamilton Finlay.

Concrete Poetry:

Week 6:

The Tree of Life:

Week 5:

Svema Film:

Weeks 1-4:

Here is my PK task for the first week:  v=YGwyXHVcPuU

Week-7-Contextual Research

This week, I looked at the work of Ian Hamilton Findlay, at the suggestion of Dr. Wendy. Findlay wrote ‘Concrete Poetry’ also known as ‘Visual Poetry’  “Concrete poetry relates more to the visual than to the verbal arts although there is a considerable overlap in the kind of product to which it refers.” 2  

As a photographer and specifically an abstract one, my work can be a little difficult to understand, the image alone, as well as a title, may not be enough to give the viewer the information they need. I am therefore looking at artists and poets who use the word, as a visual, as it may help me to explain my work better through the word.

It is very interesting to find out that concrete poetry is nothing recent, it was used as the 2nd and 3rd century.  The words form an image, in other words the words are used to draw, a good example would be George Herbert‘s Easter Wings written in 1633.

Easter Wings. Photo courtesy of Wikipedia.

Brilliant, Herbert had the words printed on it’s side, to form the wings of a bird.  Gives me the idea (appropriate) to make a fence with words and photograph it. I had already come up with a series of paintings that spells the word. so far I have painted the ‘F’ and the ‘E’  the rest will be painted as the module progresses.




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.