10 October 2017
It became clear in the research practice module how important photography is to my art practice. And although I typically create digital abstract collages with my photographs, it is still important that the work remains a photograph, rather than a photo etching or a screenprinted photograph. In this way the photographs sit within the photographic historical landscape, even if the traditionalist contest against my process. I am still traditional in the sense that I use my own photographs and will often photograph with a project in mind. It is in the post-production process where I digitally create my collages with cut-up pieces of my photographs, layering pieces of pixels like they are musical notes. These scenes can be quite abstract, but I have more recently started incorporating figurative elements. The overall image hints at the digital in how they are constructed photographs, but I am also incorporating parts of the human body or plants to root the viewer into a familiar territory, but in a make-belief world. I think a tension is formed when the photographic medium is cut up and reinvented, but the output remains as a photographic image, rather than using a printmaking process are usual fictional and illustrative.
I am new to making books, but this is an area that I want to explore in this module. I want to create a small series of books that incorporate my photographic collages and text. Words that I might define as automatic writing. Text that appears in my mind similar to how a visual idea might form. The photographs and the words have formed separately, but I wish to bring them together in a book to see how a relationship is formed.
At the moment I see these books to be archival pigment printed, with a simple stitched binding, an exposed knot. Probably in a category of photo zines. I may add a hand printed element, just to remind the viewer and possibly myself that these are gestures of books within the larger category of artist publications.
I do have a preference for quite traditional books. Linen hardbacks, clean design. Simple books. I would like to eventually make my own cloth bound books. Perhaps using letterpress for the text. But I don’t want my books to look too crafty, or to appear DIY. I like those kinds of books, but I don’t want to make them. I am not sure if I can make books to the level of quality that I want them to be. Therefore, they may need to be printed for me.
I also like the idea of digital books. This is an idea that is a bit odd for me, as one of the wonderful things about books is the tactile and intimate nature of them. The digital book could create experiences that are impossible to print, such as moving image and sound. This would be controversial to the communities committed to print and paper, but could offer some experimental elements that l am curious about. Whether the book is paper or digital, I think of them as a vessel for ideas.
A new project I am thinking about is called ‘Feeling plants’. There is some background research I want to do with nature and affect, but I thought that this might be one project where I could be more representational with my photographs. At the moment I see black and white photographs of pants printed as archival pigment prints or riso prints, and then either screenprinted or lino printing with some minimal shapes to act as barriers and distance between the viewer and nature. I do want there to remain a photographic element, which is why I was thinking of adding printed elements on top of a pigment print. But I thought that this might also be a project where I could incorporate some field recordings. I think this speaks to the poetic yearning for the landscape. The sentimental and romantic sense of loss. The desire to feel it, to get close to it, to be it.
During the research practice module, I focused on sound, photography and affect. I used affect and sound to guide the creation of my photographic montages/collages. It was sound that allowed me to think of print in a fragmented way. Layering sound, like a screenprinter might layer colours on a print, or in my case, layers of photographic images. One of the artists that I focused on was Jez riley French. He is a sound artist, photographer, composer, field recordist, writer, book maker, and educator. He combines all elements harmoniously. He also is a sound geek and makes microphones. I would be keen to take one of his workshops for the professional practice module, so that I could make my own sounds. Although I am slightly daunted by his experience, and the lack of mine. His work in my mind is perfect and is highly respected in his field.