Test Diptych, February 2020. Copyright James Bellorini.

So, I am pleased to say that I received a distinction mark for my F.M.P. Proposal.

But, rather than being a definitive plan, it became a basis for rethinking the project’s main focus. In conjunction with my tutor (Wendy McMurdo) we questioned about 50% of the proposal. The theme and some of the logistics and delivery remain strong. It’s the aesthetic focus that needs to change.

Such is the creative process.

The main adjustment is to push the project toward the element of food in the context of heritage and belonging. Though not my main visual subject matter, it has been a strong presence across the project work to date. I’ve frequently considered it a ‘cipher’ for the cultural explorations I’ve been making of myself and others and was strongest during my third module, Sustainable Prospects. More-so after viewing the incredible exhibition Feast For The Eyes at The Photographers Gallery. What struck me there was the potential for food to have such a strong psychological dialogue between subject and viewer. That intrigued me. Being the son of a chef and restaurateur, it resonated with my history and memories. So this is a move into ‘reclaimed’ territory as the creative journey refreshes itself.

Other considerations that came out of the evaluation are as follows:

  • Re-evaluate whether the current proposal to present work at Brighton Photo Fringe (BPF) in October is the best use of the FMP time-frame and outcomes? Wendy’s feeling is that the FMP work needs to have it’s generative life-span across the 5 or so months we have left before pulling it all together for final presentation and exhibiting at BPF has the potential to break that process. It might be more prudent for me to show some earlier work form the MA process.
  • Research/think about opportunities for physical/site-located public output. If at all possible, Covid-19 depending, it would be preferable to have some face-to-face output/dissemination – even a series of discussions. This exists in my proposal but it might replace the public output of the exhibition itself.
  • Think about the potential of image projections at specific locations.   
  • Be clearer about the borders of the project: who am I working with and why? Drill down even more into the subject to refine this further.
  • Rethink the working title of the project.
  • Be clear with myself that this is the first iteration of a larger body of work.
  • Research: Sian Davis, Lorenzo Vitturi.
  • Stay cognizant of the joy that can be contained within the work and my approach. This is particularly important as it’s very easy to get overly cerebral during the M.A. process, especially as we are always expected to contextualise our work over and over. At the end of the day it is about making work and practice-led research.
  • Keep refining my approach of using colour and juxtaposition.