PHVP 3412
Final Major Project Evaluation
The brief was
to respond to an external brief/stimulus, in my own case to find a competition
that applies to my own style of work and create [a series of] work to enter in.
To find which competition would be best for myself it was not only necessary to
look into the briefs (what they were asking for, certain categories available
etc.), but to research the selected finalists/winners of these competitions to
see what is successful and what kind of work the judges are looking for.
My own
approach to photography is art-based. My work tends not to follow narrative
(non-fictional); rather it’s expressive or conceptual. So I needed to aim for a
competition that is more open to art-based photographic outlet. I had narrowed down
two competitions that seemed closer to my style: Aperture Portfolio Prize and
IdeasTap Photographic Award. Upon researching the selected finalists/winners of
these competitions I had made my decision to choose to follow the IdeasTap
brief, down to finding that much of the selected work from Aperture tended to
follow a documentative series – albeit artistically-done, but it was further
away from my own style.
Now I had
discovered which brief I was to follow, the conceptual category in the IdeasTap
Photographic Award. My beginning idea grew from wanting to follow some sort of
story, but keeping the aesthetic artistic and abstract – strong composition and
cut off forms, less visual context. I had researched the likes of Adele Watts
who studies the interior spaces of homes, and the relationships that co-exist
within them – how traces of human existence can be found. An idea then stemmed
from this to travel back to previous homes I had lived in to study the space
within them, to see how they had changed over the years, if at all. My troubles
here were contacting and maintaining trust with the current home-owners, and
when I had come to complete my first testing shoot the images that were
produced seemed to lack something. Potentially, had more been produced it could
have worked well as a series, but what had stopped me was gaining permission to
enter the other homes. I had to change my aim.
My new
approach was to concentrate on
the objects within the home space, but it was this idea that finally led me to
work with still life imagery. So my next step
was going back to research. I wasn't throwing away the whole idea, I wanted to
concentrate on the aspect of objects - mundane/household - their use and
relationship between another. My research led me to several areas of
inspiration for myself, in both modern and traditional senses. Sarah Palmers
series The Village Of Reason had
definitely kicked it off, her photographs of seemingly juxtaposed [random]
objects are wild and seemingly inconsequential – that may trigger elements of
mental pattern and thought. It is from this I found the effectiveness of
juxtaposition with objects. Linus Lohoff was another photographer I had drawn
inspiration from. His Constructed_Picture(s)
are bold and creative, the mere use of colour in these images brought me to use
colour within my own work, bringing life to the photographs. To fully
understand still life imagery, however, I had to look back to where it had
first began, in painting. It was the understanding of the significance of symbolism
that lead me to deepening the meaning behind my work, but reversed to what it
typically stood for. My own approach to artistic photography tends to avoid creating
for a specified declarative reason; for I believe that within art, greatness
equates with multivalence.
There is a strange irony to the images.
The photographs stick to a fairly minimal aesthetic, bold/static backdrops with
one object of interest But the meaning behind it? Not so simple. Its a
play on the typical still life symbolism, somewhat mocking the deep symbolism
and to those who look for it, or those who believe it's entirely necessary in a
piece of art to be worth interpreting. The juxtaposition of objects is to
confuse/change their use - therefore, potentially, their meaning. Visually,
some images become either what it is trying to be or something entirely
different. For example, the cut avocado mimics the shape of a flame. Whilst the
grape sitting on top of the candle stick becomes nothing, just shape.
Uninterpretable shape. It means nothing besides the new shape it's become. In
other images, I have used colour reversal to almost mock the object. A dying
banana, now black, with a bright yellow backdrop to highlight its death. Again,
the irony here is the use of symbolism. It is far from traditional still life,
but the use of symbolism here is slightly humorous.
I do believe that I have successfully filled
the brief, given that competitions as such are purposely open for artistic play
and creativity for the artistic/photographer. What I would suggest to myself
next time, however, is to make sure the idea I hope to follow is accessible in
the time frame I have left/been given. I had relied on permission I had not yet
received and that is what left me with less time further on in the project. So,
for future reference to myself I ought to given myself more time, especially
when site permission is needed, formal or informal.
What I have gained from this project is
a worthwhile tool for all future projects. Although the theory behind my work
remains to my style, I feel I am able to talk more thoroughly about my approach
and the reasons behind what I do. Thorough research and theoretical research
behind a projects’ themes is what has helped increased my ability to talk about
my work. For future projects, I plan to stick to my own approach to artistic
photography – I still believe a shoot now, think later thought process is key
to artistic outlet, but the lesson I have learnt is that theoretical
backings/research are essential when it comes to declaring an idea. It is
important to observe another’s’ findings and theories, to compare with your own
and yet another’s. So, for future work I plan to research artistic theory much
earlier in the game.