Week-12-Contextual Research

As a result of attending the Von Lintel gallery and seeing the work of Klea McKenna.

Klea McKenna. ‘Growing Field (1’) Image courtesy of Von Lintel Gallery.

I am happier, not worrying about fibre base paper and its vagaries.  When I saw the work of Klea hanging in the gallery, the warp and paper distortions took an a new kind of beauty for me that I have not been able to enjoy until that moment.

As the work hung on the wall, encased in its floating frame, the work took on a feeling of mystery and beauty that I had not seen in other photographs. (Klea does not actually photograph, she works with Ray-O-Graphs/Photograms a camera less method of making images. In her work she incorporates texture into the image, and  by using a very thin single weight paper, which is very prone to curling, bending. Through forming  she is able to record texture. Klea uses those “weaknesses” as strengths.  It to give her images the texture it requires.

My interest is not physical textures, or photograms. I’m  instersted in the obscure and unusal images, seen every day but go unnoticed. I do like using the camera and enlarger coupled with digital and making analogue prints.  The paper vagaries of fibre have now been put to rest, thanks to Tarrah Von Lintel and seeing Klea’s work.

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Dr. Wendy mentioned that I should start writing. I presume this is to stimulate the thought process and to manifest the ideas, words are tools of thought.  Researching I come across the artist/photographer T. Pasha Turley, and in her work: Infrared with Verse.

T.Pasha Turley ‘Never Loved’ Image courtesy of artist website.

She uses verse to help describe her images. She has a way with words that really stimulates me. I generally don’t like titles and captions that are too denotive. I prefer themes and connotations.  I find the work of T. Pasha very stimualting in this arena. Her verse is ethereal and abstract and connotive, which I really enjoy and will apply to my own work.

So I printed a few images in the darkroom, This one below: Fig 1, was made on Ilford Multigrade Fiberbase Glossy Warmtone and I wrote my thoughts down at the bottom of the image as a stream of conciseness (automatic writing)  I went to bed loving it, but woke up the next morning with a change of heart. It’s not the prose or the automatic writing,  it’s the way I did it. I wrote directly on the paper with the image on it, (maybe  the writing is  too big) then it becomes too overpowering.

Fig 1. Photo and prose by: Pierre Chemaly©

The words take away from the image, so I have decided to write a bit of prose, type it up, and have it alongside the image. Separate, thus giving them their own space. Words are images, albeit black squiggly lines on white paper, they are still images, and I just have to be careful the the writing does not over power the  photographic image, which in my case I feel it did. I will do some more tests with seperatly typed cations/prose and see how it works.

I have to be careful though, Martha Rossler: ‘ The Bowery In Two Inadequate Descriptive Systems.”

did  typed words next to the photographs.  I’ve still some thinking to do about this.  Im’ more prone at this point to give a little write up about the series at the head of the exhibition then let the audience fly with their thoughts, experiences, and perceptions.

Klea McKenna: https://www.kleamckenna.com

T. Pasha Turley :https://pashaturley.com/photography/infrared-wverse/

Martha Rossler: https://whitney.org/collection/works/8304

Week-4-Contexual-Reseach.

I would like to take my practice further than just making or taking an image for the sake of it.  Being a farmer or a hunter of photography is very important to understand.

Continue reading Week-4-Contexual-Reseach.