FINAL MAJOR PROJECT. WEEK 5.
I started this initial work by looking back to work made during previous modules. It felt right to take that work and re-examine it further.
This current work was influenced by interviews with Daria, a young woman originally from Poland who has lived and worked in the UK for the past 5 years. This was one of a sequence of interviews I’ve conducted with the project collaborators across the past few months. Inevitably, food has come up as a subject long before it became the main thrust of the F.M.P. work. It’s connection to heritage is apparent. Daria has an affinity to apples: they are strong in memories for her, as well as representing a sense of well-being.
As before, I utilised found objects and, in some cases, a digital projector using images I’ve made for the MA as sources of light. These also provide a way to ‘layer’ reality beyond what is in front of the camera. This can be seen most clearly in the image above which has no items on the tablecloth but shows the effect of the (deliberately out of focus) image projection.
As I’m making those initial steps into F.M.P. work I’m asking myself why photography is important to the clarity of my project concept? Especially as the work is often quite painterly. For me, what differentiates the photographic from painting or another medium, and why photography is so relevant here, is that it inherently contains the belief that what we see is ‘real’. This allows me the opportunity to explore the fictive dimensions of my project, the boundary between fact and fiction as perceived by myself and the collaborator. It’s a perpetual dialogue between the two and is bound up with memory and perception, bouncing back and forth. We are after all our own storytellers. And this excites me as a place to make work from and draw people into. As Will Storr says: ‘Storytellers excite… instincts by creating worlds but stopping short of telling readers everything about them.’ (Storr, W. 2019 pg 17). That ambiguity and open-ended sensation is important to what I am attempting to achieve.
I also shot a little more formally in a separate though related sequence. And here I am aware of my need for chance elements in images, even as part of a highly conceptual approach. For example, the ice in the tabletop images provides that. As it melts the apples are ‘released’ without arrangement from me – even if at times the melting process was given a helping hand.
The same can be said in the image below.
The formality of the image was consistently broken by the wind through an open window randomly blowing a curtain into the image frame. Time and motion invading without control.
So the elements of fictive perception, chance, and a layered narrative approach are definitely strengthening in the work and will remain part of my ongoing explorations.
REFERENCES AND RESOURCES.
Storr, W. 2019. The Science Of Storytelling. London, William Collins.