My original proposal for the project included a beginning list of artists I wanted to investigate further. The timescale for completion of Assignment 5 didn’t leave much spare time for experimenting but I have continued to add to the list as interesting photographers and other artists have come to my attention. I am attaching as PDF an updated list.
With completion of the draft Assignment itself I will have much more time for experiments but need to retain focus. I have, therefore, divided some of the ideas into possibilities now and possibilities for the future.
The use of overlays paint or digital as in her works No Blood Stained the Wattle and The Dark Forgetting. These are emotive works exposing as they do the treatment of the Australian Aboriginal and Torres Strait Islander people by the early colonialists in Australia. There is a link though here with the impetus which led to the novel The War of the Worldsand I think that Aletheia Casey’s techniques could be transferred to the photographs I have already taken on Horsell Common.
Apart from the complexity of his approaches to contemporary issues in photography, I am also interested in his use of altered books, an approach I had in mind from the beginning of Assignment 5. I already have several editions of War of the Worlds. Again, this would, in essence, be a handmade book.
His projects English Journey and On This Day involve the use of ephemera, period artefacts etc alongside contemporary photographs of locations to connect present with past. So far, I have vintage postcards so would need to collect more material. I’m thinking here of a handmade book.
Possibilities for the future
His fertile imagination has produced such fascinating work, much of which has involved not only the creation of elaborate ‘archival’ documents but organisms and animals too. I found an interesting article here which describes him not only as a conceptualist but as a “contextualist” whose projects adopt/appropriate authoritative resources used to legitimize photographic materials, and vice versa, in order to subvert them.
Fontcuberta’s later project Trauma (2016) builds on the hypothesis that images undergo an organic metabolism from a variety of processes which results in photographic wounds and scars. The latter veil the original subjects of the photographer’s lens.Joan Fontcuberta: Trauma, 2016 from àngels barcelona on Vimeo.
This would take me into a more conceptual approach, using old photographs which I have already collected. But I would like to experiment with a completely different approach
- I will begin by printing some of my photographs onto Watercolour inkjet paper – probably at 5×7” size as experiments for overlays with watercolour paint.
- Experiment with digital overlays
- Decide which of my editions of War of the Worlds I will use as an altered book and then make a plan for how I will alter it.
- I also need to think about text
- Last year I gathered some striated red pebbles from a beach in Devon and I recently asked Anna Goodchild, OCA graduate if she could gather some of the red sand from Paignton beach and post it to me. I’ve also gathered sand from Horsell Common. The impetus for this was a sand print that used to hang on the wall when I was a child – from a time when my mother went to the Isle of Wight with her parents. This layered sand print was something I’ve always remembered – in fact I purchased one such from eBay a couple of years ago whilst I was studying the Digital Image & Culture module and working on some letter from Egypt from my father. When the framed print arrived I was sure that this was the same one even though I knew it probably wasn’t. It’s squirreled away in a cupboard somewhere – must find it for inspiration.