Hannah Collins

The Fragile Feast, 2011

"I realize that when we analyse a dish or a style, we notice composition and technique, but rarely do we realise that the product we are eating has a history. Hannah has portrayed what lies behind each of these ingredients and has pulled on the threads until the origins of a series of emblematic products have been reached. Each product implies a territory and reflects the people who have worked it for many years, often following ancestral techniques and procedures". 

Ferran Adriá, 2011 

Fragmentation and Nostalgia

Two photos I have taken for photomedia Project 2 (a and possibly b)
looking at the brokenness of memory, the impossibility of truth in memory, and in photography. Difficulties in language and art to fully capture the essence of a memory or a thought. The assumptions we make of objects' surfaces, of the photographic 'mask'.
I want to test the 'truth' of photographic reality by encouraging the viewer to connect each fragmented portrait with a fragmented memory - which memory belongs to which person? How can we possibly know that?

Bill Viola

Matthew Sleeth

Red China

 

Feet, 2003

Robert Rooney

Anna Gaskell

Erasers

Replayground

David Maisel

"Library of Dust depicts individual copper canisters, each containing the cremated remains of patient from a state-run psychiatric hospital. The patients died at the hospital between 1883 (the year the facility opened, when it was called the Oregon State Insane Asylum) and the 1970’s; their bodies have remained unclaimed by their families."

Simon Terril

The Balfron Project

Filip Dujardin

All in a Day

A study of colour temperature and light throughout the day, I've taken photographs on the same camera (white balance) settings, every hour for 12 hours in a day. You can see a gradual change in colour temperature: growing colder toward the evening. Obviously exposure, shadows and the angle of light alter as well.

morning

midday

afternoon

evening

Andreas Gursky

Thomas Demand

Makes all these photographed installations out of coloured card and paper. Most are life sized and exact replicas of photographed spaces which actually existed at some point in time. Almost like sets to an audience, these paper sculptures appear to be real to the camera. This draws attention to photography's inadequacies in dealing with texture, space and reality. It also reveals the assumptions we make about the authority of the photograph, or in fact any for of representation.

I love the theatricality of these artworks, but also their simplicity - which is often lost in such detailed and intricate installations. Demand saves his extravagence for behind-the-scenes, and the final photograph is actually quite humble and believable.

Georges Rousse

Project 1 finals

I'm going to print these a little bigger than A3, at 12" x 18" on gloss. The reason for the gloss is to mimic the shine on the original photos held my the models, I want to replicate that original asthetic (without resorting to the nostalgia of 'retro' stylising), Irena Werning style.
The order will go from Grandma, to Mum, to Me. I considered displaying them vertically (like below) to imply a family tree format, but this symbolism would perhaps be a little obvious and I'm so pleased with the identical complosition of the three shots that I'd really like to bring this out by lining them up horizontally - when I do all the models heads, shou;lders and hands line up beautifully!

Angela and Ithyle

 

I found this image by Angela and Ithyle after I'd taken my project 1 photos, but I love the way it plays with depth of field and the fogginess of memory. My photographs have been focused in reverse to this image, on the face in the background with the photograph and hand in front a little blurred, however not as obviously as here. Although I love this photograph, I think such a shallow depth of field would perhaps add another element of obvious 'symbolism' to my portraits which I had not intended. My primary themes are that of age and generation, whereas this technique also brings the authority of the photograph to question, which is not my intent (though i find it fascinating). Another, separate idea for a series could be images like that above, with childhood photographs, but not necesarily shot in the studio or within the same family group. This might make room for new themes about the photographic medium to come through. I love art which is self reflective, which comments on its own medium from within, and find this is very popular in photography and cinematography (for example La Jetee, below).

Project 1

looking at age, change, memory and generation. These are from a shoot with my Grandmother, aged 78, holding a photo of herself, aged 50. I should have reflected light onto her back to pop her forward a little: I will also be doing a similar shoot with my mum and a self-portrait, so I'll keep this in mind for those sessions. I was planning on shooting on a white background but it was a little too crisp, and lacked the nostalgia I was after. The black is much more dramatic and I like the way the subject emerges out of the darkness, like a memory from the past. I like both shots, and will know after photographing my other models (mum, myself) how they work within a series. I think the photo below has a lot of conceptual potential!

Gregory Crewdson

Jeff Wall

"I begin by not photographing"

Large scale light boxes for presentation are just beautiful and make a strong reference to advertising billboards/historical paintings.

Breakdown

Final video piece for digital audio/video project

An exploration of social pressures and expectation, freedom and self realisation.

Special thanks to Kate Haysom and my other helpers/support!

audio track by Frou Frou

William Eggleston