T&P 2A- Outcome 3- Music and Light Development 4- 13-16

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0402

11  10http://www.youtube.com/watch?v=-lVC7Zv_Hxo

Inspired from the first 3 pieces played in this album.

The playful poignant feel that such a music evokes shapes up an aesthetic that reveals something that is beyond my words. The flickering effect together with a resolving round tangibility that I am able to produce connect the three forces into a vivid consolidation of energy. The lightness and deep contrast that different harmonies result brings about a depth of great revelation. Something that I want the viewer to connect with and reinterpret with his individuality and perception ideology.

T&P 2A- Outcome 3- Music and Light Development 3- Page 12-13

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The clean aesthetic that this work brings out sheds a deeper understanding of my personality with the piece of Grappelli and his sound. The music Evokes a sense of liberation that brings out a development of such sort. The main principles are connected within each other and I am working hard to reveal the true energy that will transcend from one viewer to another.

The touch of bow pressure together with the beautiful sound of vibrato resonates within the structure that one can see from the above results. The poignant and beautiful abstraction that results make me feel deeper upon this connection that I am striving to achieve.

SP 2A- Outcome 4- Development Work 4 – Page 13-14

Working on the concept of detachment and the idea concept of distinction in time and space I produced a series of work that justify these qualities. These works show an extensive and under layered idea of distinction between me and the space that I relate to everyday.

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Through each and every narrative I would like to capture and encapsulate something that will eventually summon the whole exposure of this journey through the final work selection.

Some more results co related to the work that I am processing.

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Outcome having obtained a huge amount of results I am looking through the final concept analysis that will eventually mark the final works.

More work to be reviewed and posted soon.

SP 2A- Outcome 4- Work Development 3- Pages 7-8 Part 1

During the second intervention to the final development, I wanted to present a study that outlines the detachment further on. The repetition and monotonous behavior that has been evaluated for the past months has brought out something that sheds a development of a particular feeling. The detachment from the initial day to that found today is molded into something that only by experience and foundation I could evoke it today.

The uncertain qualities and deadpan aesthetic that such a profound subject has profoundly objectified in my work, outlines how deeply foreign something can be to ones experience. It is an experience that you find yourself explaining parallels that sometimes they don’t make profound sense. Like a rainy day and the ice cream van. The dissonance that such reality evokes shows a formula that i would like to justify and portray to the viewer in clear terms.

In the developed photos outlines for this part of my work suggest an understanding and in full terms the deep expression of me in this space that indirectly has no sense of home for me.


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Working on the notion of detachment in this body of work I wanted to reveal the structure of a feeling that I believe is obtained through this window. The abstraction and unfocused portrayal reveal how unsettling something can be if you are not truly experienced. The home like connection and detachment found in a new place is a transition that people and anything in the world can relate to.

T&P 2A- Outcome 2- Science of Light – Page 41-49

Light is a crucial element that enable us to produce photos. It is thus a source that is crucial for a photographer to analyse and acknowledge its principals and functionality.

Digital Cameras found into today’s era function with a different light sensibility from the film cameras that were utilized extensively before. Digital SLR cameras have a sensitive CCD sensor or CMOS sensor. Through this sensor light is detected and images are thus produced.

Auto White Balance has the ability to decide the Colour cast of the particular scene of shoot. In each and every digital camera a colour cast is pre set from the factory.  The famous Kelvin has acknowledge and studied into depth the notion of Light source and the temperature that comes within such an element. He was able to acknowledge that the light in the morning vs that of the sunset had different tonal quality with variable heat capacity.

DEGREE KELVIN SCALE of daylight is thus 5,200 degree/K.

Thus the whitest part of an image is a significant and important part for a photographer to measure. This is because white has no colour cast as it is the clearest point.

Colour Casting is a significant part for one to analyse as it provide a constructive elemental feature in the work that one will be able to produce. Van Gogh’s work is a good example for one to evaluate. His work justifies and brings into life how deeply significant is the acknowledgement and study of colour range temperature.  The accurate and closer one is able to bring out from the colour temperature the real and more refined the result will be.


01

Blonde 2000K
HMI

HMI 650K

In this Workshop we have investigated and brought into light 3 different light sources. The initial work has been processed through an incandescent; fire burning light that heats up quickly. Such a light has a degree of resistance that produces an orange colour cast.

– Blonde, 2,000K- 3,000 Degree/Kelvin

-Red Head ( younger sister of the blonde hehe) 650 W

Through a Blue filter placed in front of such light sources one is able to produce a Daylight like temperature of 5,200 Degree/Kelvin.

The second Light sources that we investigated was that of the cool HMI- Discharge light source. Such a light source has principles that allow it not to get hot and remains stable all the time. Such a light source is good for producing Stop Animation with, as it provides same light intensity. A filter or a soft box is needed to produce a daylight effect or a cloudy effect light. NB when the bulb is warming up the colour is that of deep Blue as this intensifies it changes into a purer hue.

The final light source that we were able to analysis was that of the LED light source. Such a technology is one that will eventually overtake in the near future. Such a light has a wide range of light which produces soft shadows. Such a light source is extensively employed in a film based quality of light.

Testing Different Light Sources:

Light Source HMI with Soft Box on

AWB 02

AWB- Auto White Balance

Cloudy 02

Cloudy (6000K)

Custom 02 - Without the White Balance set up

Custom Done without White Sheet TESTDAYlight 02                                                            DAYLIGHT (5200K)Flash 02                                                            FlashShade 02                                                            Shade (7000K)Tungsten light 02                                                           Tungsten Light (3200 K)White fluorescent light 02

White Fluorescent (4000 K)

LED light Test 

AWB 01

AWB

Cloudy 01                                                           Cloudy (6000K)

Daylight 01

Daylight (5200 K)

Shade 01

Flash

Flash 01                                                           Shade

Tungsten Light 01

Tungsten Light (3200 K)

White fluorescent light 01                                                            White Fluorescent (4000K)

Custom White Balance Set up done with an HMI light source. 

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White Paper Test Setup. Ideally The whole view finder is the full paper area. Make sure that the photo produce is that of white. Through menu setup one can configure the colour cast, and the below result was attained. Whilst doing this we had some initial problems bringing out a clear white photo. Through the employment of Blue, Green and Red we tried to balance out the scene and the problem was solved. 04 05

Working with Raw File and Bridge Processing

After taking a good number of photos in RAW format one should evaluate white balance colour cast that is subjective to the light condition that one puts his frame in. Through the conversion of raw file one is able to see the different colour temperature via the histogram either done through Photoshop or Capture One process.

As you can see below I have tested different colour temperature valued through the conditions presented in the following examples.

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Through this technique one is able to find and understand the the pre sets found within a camera and it auto white balance. Things and details can still adjusted within a raw file. The most significant adjustment that one can do through a raw file histogram is to target colour mainly those of R G B. This is a scientific way of how one should acknowledge colour in a camera and qualities it has within.

Within such a histogram one is able to vary colour values, shadows, highlights, exposure, contrast, tint etc. Any colour image is produced through the variant of R G B thus the main foundation of a formulation is within these hues.  It is thus the complimentary colours of the RGB that one can get when trying to attain a pure white balance understanding of an image.

BLUE – YELLOW

GREEN- MAGENTA/PINK

RED- CYAN 

This is a significant part of the functionality of a histogram. One should always be aware of what is happening within these hues.

R G B – when one attains the same number – thus the image has an overall of same white – thus mutualizing the same layers.

One should always keep in mind that over doing it during edited stages, might not be an ideal way of crafting one’s skill. When light condition etc are in raw wrongly attained one should always rework and re shoot for a better understanding.  All this will allow you to further acknowledge the analytical process and avoiding overdoing through digital means.

Outcome:

Through such a workshop I could further understanding the significance of colour temperature and the light surroundings that one takes for granted at times. In such a concept has allowed to understand the functional and broad investigation of different light casting. Each and every elemental principal of light should be increasingly investigated, as it will justify and profoundly effect the final photographic results of one’s perception.

Further Reading and Research:

1

https://fstoppers.com/post-production/learn-shoot-proper-white-balance-using-kelvin-temps-3328

2

http://digital-photography-school.com/creating-moods-with-the-kelvin-scale/

3

http://physics.nist.gov/cgi-bin/cuu/Info/Units/kelvin.html

SP 2A- Outcome 3 – Concept Development Shoot Development-Page 1-8

Divergent Thinking Divergent Thinking is to think on all possible outcomes. Thinking becomes similar to that of a child, were the sky is the limit. One should always understand other people’s need. Through conceptual thinking one should direct the audience to a focus.

Divergent thinking process of the Bulbs:

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 The main qualities of the Subject

-Roundness/Shape -Reflecting Element -Colour -Light qualities Through this work we want to balance out a composition that shares features of the subject. Through various light qualities and elemental qualities we want to transcend the main anatomical features of the bulb.

Working Results

01 011 01202 03 04 06 07 08 09 The concept of light could be analysed in further depth. Different environments explored in the interior and exterior could have been further analysed. Yet, one is able to comprehend the huge contrast that the initial idea formulated into.

SP 2A – Outcome 2 – A3 Black Journal Research Development Thinking Process

vojt

‘VOJT’ Photography Concept Analysis

‘“Silence is of the gods; only monkeys chatter.” ― Buster Keaton’ (Goodreads, 2014)

Everything in life follows a cycle that despite its unique qualities, it is part of a routine that has to maintain order to fulfill its existence. The act of photography itself profoundly evaluates such repetition into the process it takes to attain a photo. The method finds no sense of abstraction, but it follows a methodology that keeps on looping similar to the passing days. The photo itself takes a life of its own and eventually finds its end in order to allow change and new forms to be undertaken. (Barthes, 1977)

Through such complex analysis one is able to acknowledge how deeply and immersed is the act of creating photography with true conceptual motivation. From time to time one can acknowledge how monotone the cycle of life has always been. One day one finds himself as a youngster and the next day he is on his last legs.  The silent, cold and numb individuals that surround this world force me to be passive about everything. There is no sense of belonging and this should detach individuals from the photos that I will present.

Analyzing written records such as Wilfred’s Owen famous poems ‘Dulce et Decorum est’, ‘Futility’ and ‘The Anthem for doomed youth’, I can perceive and acknowledge how analytically the subject can be.

“I’ll pretend you can hear me. But it’s no good, because I know you can’t.” (Atwood, 1986)

Similar to Ai Wei Wei Sunflower seeds, one can acknowledge that the mass structure obliterates any sense of individuality. The uniqueness that distinguishes us from anyone is forced to fade away as superior powers takes control and there is nothing that can stop this.  One of the initial voices that triggered me for such an approach was the imperative voice employed within the medical field , qualities such as ‘will’, ‘now’, ‘must provide’, ‘fertilize’, ‘break down’ (Martini, Welch & Martini, 2004) . The cold and dehumanizing authority that such register establishes has made me formulate different questions.

Research requirements

Influential visual artists and photographers that further sustained such a thought were Christian Boltanski, Tehching Hsieh, Candida Hofer, Edward Burtynaky, Andreas Gursky, William Eggleston, Andreas Gefeller, Shirin Neshat, Walter Niedermayr and Thomas Ruff.

As found in the photographic analysis of Andreas Gursky outlines the numbness and the mass structure of any organisation or traditions in different societies and cultures. Distant and detached, Gursky has the ability to capture a mass structure that is observed as objective element to both the viewer and the photographer. No kind of individualism can be found; his work conveys mass structure of human anatomy or production within architecture scenes. The huge amount of void and the insignificance of all this obliteration could be connected to the way society is developing in this contemporary lifestyle. Nothing is tangible and everything is obliterated within something that has no sensitivity. Another sense of alienation can be analysed in the empty scenes that Edward Burtynsky photographs. Through his work he brings out the significance that the individuality has in today’s life; were environmental and political shape up an outcome that individuals have to see and unfortunately as his photographs, they have no power on.

“These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times.” (Burtynsky, anon)

Evaluating work such as Shirin Neshat, ‘Women without men’ (2009), I could acknowledge how deeply immersed is the force of regularity, and how impossible to neglect its effect on us. As individuals try to come up with an ideology that can never change the truth that everyone has to face. This can be seen in clear terms in Christian Boltanski, ’The lottery of life’, were everyone is a number that lives and dies.

Deadpan values an image, that “acts [as a] fact-stating mode” (Cotton, 2004, p88), and thus the void it provides is the result of it. The saturated hues together with the scenario that one is placed in, plays a vital role in such a formula. As clearly seen in Takashi Homma‘s works, the environment that the subject is placed in takes a secondary significance to the one of the value and meaning it undermines. Takashi photos are taken from an angle that brings out the vacant and bare environment without any hint of human connection (Cotton, 2004, p88).

The monotone works of Lewis Baltz unveil a developed urbanized environment; were clean aesthetic shapes the vernacular image to the full. Through the employment of geometric linearity and light and shade he is able to bring out the flat and impactful value to his aesthetic.

This ideological approach of geometric proportions can be foreseen again in interior photographs of ‘Candida Hofer’. Where she is able to come up with a clean balance of light and perspective, upon which she creates a vision that, brings out stillness and “a deadening experience” (Cotton, 2004, p92).  Similar to Bernd and Hillar Becher, Candida Hofer has the ability to evaluate “spaces” and upon these areas she brings out a whole “typolog[ical]” analysis (Bright, 2005,p114). As Lana Del Ray famous album ‘Born to Die’ highlights an aesthetic that bring out parallel notions to the work that Candida Hofer is able to produce.

Observing life and the way it interacts with humanity, one can root a sense of insignificance. The community at large deeply under values the presence of individuals in the way they mass produce and reproduce.

“The work of punching the clock includes but is not limited to just a 9 to 5 work day; it is 24/7 for a year, it becomes life itself. It is a gesture of repetition, a Sisyphean absurdity.” (Forrest, 2014) The individuality of something lost all the uniqueness and what individuals are most of the time presented with is the sheer reality in everything they do.  As deeply evaluated by Tehching Hsieh in one of his great works ‘Time Clock Piece’- 1981; a performance journey, punching an industrial clock to bring out the idea of repetition and the concept of bland indifferent reality into perspective. (BondiGeek, 2013)

Production Methods/Presentation

The notion of repetition and routine has been an increasingly intuitive subject that for long I have been trying to justify. Through this struggle I wanted to justify the cycle that I perceive and in a way how mentally impactful this experience is. After researching and diagnosing the various values that sum up such a subject, I want to transcend my work through a deadpan outlook.

The presentation that I will be trying to transcend will take the form a cycle like performance that will take place every day.  I will be documenting my experience and how the environment that I live in I have no connection with. The morning and evening turn out to be the same each and every day.

After completing the cycle for the next seven weeks I will be able to come up with a visual narrative that will be displayed next to each other on a vacant wall. It is directed towards an exhibition environment where likely curious and interested people will evaluate and observe my work.Such a process will be visualized in a monochrome aesthetic. The target audience that I would like to direct my voice is vast and there is no direct age upon which my work will be forced to be evaluated through. This is due that the message that I will be transcending in this series has different levels of interpretations.

Bibliography:

Atwood, M. (1986). The handmaid’s tale (1st ed., p. 40). Boston: Houghton Mifflin Company.

Barthes, R. (1977). The death of the author. Image, music, text, 145.

BondiGeek, B. (2013). Das Platforms / Issue 26 / Indifference and repetition: An interview with Tehching Hsieh. [online] Dasplatforms.com. Available at: http://www.dasplatforms.com/magazines/issue-26/indifference-and-repetition-an-interview-with-tehching-hsieh [Accessed 25 September. 2014].

Bright, S. (2005). Art photography now. 1st ed. New York: Aperture.

Burtynsky, E. (2014). Edward Burtynsky – Artist Statement. [online] Edwardburtynsky.com. Available at: http://www.edwardburtynsky.com/site_contents/About/introAbout.html [Accessed 27 September. 2014].

Cotton, C. (2004). The photograph as contemporary art. 1st ed. London ; New York, NY: Thames & Hudson.

Forrest, N. (2014). INTERVIEW: Tehching Hsieh on His “Time Clock Piece” at Carriageworks, Sydney | Artinfo. [online] Artinfo. Available at: http://au.blouinartinfo.com/news/story/1037011/interview-tehching-hsieh-on-his-time-clock-piece-at [Accessed 27 September. 2014].

Goodreads, (2014). a quote by Buster Keaton. [online] Available at: http://www.goodreads.com/quotes/450665-silence-is-of-the-gods-only-monkeys-chatter [Accessed 27 September. 2014].

Martini, F., Welch, K., & Martini, F. (2004). Applications manual to accompany Fundamentals of anatomy & physiology, 6th edition (1st ed., p. 748). San Francisco, Calif.: Benjamin Cummings.

Images:

Figure 1:

http://neobservatory.org/reports/syria-a-modern-humanitarian-failure/

Figure 2:

http://thenaziholocaustjakestolfa.wordpress.com/how-the-holocaust-was-well-organized-and-efficient-mechanism-for-mass-killing/

Figure 3;

http://www.architectural-review.com/reviews/andreas-gurskys-eye-for-detail/8626969.article

Figure 4:

http://www.architectural-review.com/reviews/andreas-gurskys-eye-for-detail/8626969.article

URLS:

Andreas Gursky : https://artsy.net/artist/andreas-gursky

Edward Burtynsky: http://www.edwardburtynsky.com/

Takashi Homma: http://aperture.org/shop/takashi-homma-tokyo-book

Lewis Baltz : http://www.tate.org.uk/context-comment/video/tateshots-lewis-baltz

Candida Hofer: http://www.artnet.com/artists/candida-h%C3%B6fer/

Tehching Hsieh: http://www.tehchinghsieh.com/

Christian Boltanski: http://www.christian-boltanski.com/

Andreas Gefeller: http://www.andreasgefeller.com/

Shirin Neshat: http://womenwithoutmen.blog.indiepixfilms.com/

Walter Niedermayr: http://www.nordenhake.com/php/artist.php?RefID=15

SP 2A- Outcome 1- Worksheet 3- Conceptualizing + Outcome- Pages 53-66

Thought ‘Read Between The Lines’

Research Analysis

The divergent way of approaching such an abstract noun was initially hard to grasp its functionality. Despite all this I was able to transcend various outcomes within the word provided. The word ‘Thought’ attains an increasingly vast knowledge to it and I wanted to evaluate such a word through a variant outlook.

Word Thought

Idea, Notion, Belief, Concept, Opinion, View, Impression, Image, Perception, Notice,Regard, Issue, Outlook…

Through this work I want that the viewer is able to question the elements portrayed.  The relation that the viewer has with the composition is a crucial element to outline. Photography is the means upon which I could translate the image that would bring out the concept of Reading between the Lines. Although through my work I initially started looking through an outcome that was literally defined I was able to strand off and capture variants that allowed me to further the freedom that I was provided with.

03 04

Initial Photos- Top 2 – Bring out the Parallels between now and then. The present and the past. Although the element of fading away is evident I had to increasingly justify my work with the notion reading between the lines. The element of neglect and forgotten stands as a crucial element in these works.05 07 06

Through Defined and High contrasted features I explored further the notion of time and change. The idea of envisaging the line and knowledge within is sought through the natural elements of the photos. The anatomical features that transcend from these photos has enabled me to further outline the idea concept.08 The divide of time and space and the resurfacing something out of the ordinary has made me think about the vernacular that is envisioned in us. An everyday scene that justifies what is left and what will become. 10 11The spatial Quality of these photos has given me the ability to envisage the concept further more. The broad and different view points that this project has brought out suggest how creative and free the concept of a word can be.

Outcome:

The outcome of such an evaluation has given me in site of how I can tackle a word and a concept from different point of views. An important factor upon looking through this analyzing is keeping the idea clear and remember the aim of your body of work. This workshop thus can be translated into my own exploration of the task project analysis. Using the divergent and convergent practice based theories I can identify a way of processing and coming up with something that shows deep intellectual formation meaning.

SP 2A- Outcome 1- Final Proposal Updated- Page 6

2A VOJT Development and Final Proposal Outcome

The theme and subject that I will be formulating in this subject is the foreign detachment and its experience on me. Through this work I will be exploring and documenting the facts of me and the place that I find myself in. The relation is from my point of view to the point of view is distinctively the same and I want that this relation will be clearly exposed to the viewer.

The main points that I would like to expose are those of detachment, and cultural indifference that there is between me and this environment. Although this could be interpreted through clear terms, I would like to approach my work from a different outlook. This outlook will not only expose my relation to the place but it will reveal the way I look within things. The significant outcome of this project will allow me to further understand myself and this place. Although I can never predict if such a thing will still feel the same at the end of this process, I would like to share this dimension and make the viewer understand the numbness that can be found in anything in life.

The stillness of time and the fixed dimension that there is between me and the view is of significant importance that brings out an aesthetical composition that remains through this journey. The disconnection of me and this background is there and will still be there. The sound and loudness documented will share a value that will keep the repetition looping.

The tonal quality that pertains to this ambience is different and new to my spectrum. The grey tonal elements and milky white together with the deep rust green surrounds me all the time. The golden ray and cold touch is another strange context that I feel within such an environment. The red brick wall and light celestial sky stand in contrast with the shadows found in the water pound at the side of the pavement. With every step I take it is like I am intruding in something that I do not belong to. It is as though I am part of it but not really. The physicality is within but the inner self is still attached to what was left behind.

The detachment is not something that I think about all the time but it is there and in facing it and trying to justify it I might learn more about this place. I might look within such matter as a time where I could relate and understand. Sometimes it is hard to understand what you cannot truly comprehend. It is something that I am living in and it is something that the viewer could experience in different level and forms.

In this room I will document the repetition of this feeling. The idea concept of contrast, detachment, culture indifference, identity will share a significant point to build this composition. The initial focus that I will take is the distinction between this culture and that of my homeland. I will justify and bring into life the different architectural and atmospheric autonomy that distinguish those of my homeland. Through my composition I am looking to give the whole space air but at the same time I would like to approach this as from a view that is real and factual.

The initial compositions that I started to construct were quit distinctive and I was looking to interpret my work within a notion of symbolism. The initial work was in fact of creating a reaction and the outcome and process of this. In doing so I created a body of work that delved me within an area that helped me develop and deeply understand this feeling that lies within. The tonal and distinctive features of White vs. Black, is an elemental quality that I can clearly justify to the audience in. It is a contradicting paradox that moves and delves into the way I feel in this situation.

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The second portrayal that I undertook was that of finding and sharing the feeling of something that was part and still is but in a way there is still the void. The idea of documenting empty plates and finished meals is something that engages with a parallel notion to what I feel. This direction that I took allowed me to further understand this complex disconnection that I feel through these days. The cold and saturated hues that I employed shared an interesting notion that might have made me think within an area that I could explore in the future.

IMG_0710 IMG_3285 copy IMG_3322 copy IMG_3323 copy

After drifting and changing and trying to justify the areas, I took my ideal into a place that I share most of the time in. The window the chair the room is what I live in. This place is foreign and I have to feel comfortable in. Foreign bed, foreign chair, foreign view, everything is distinctively belonging to everything but not to me. Light and the window itself is one of the portrayals that I have to face every day if I want to or not. It is a view that I feel scared yet engage to hope for.  It is thus one of the most essential parts of my compositions. This portrayal is there and I need to find the proper way of composing it, into a reality that is my own.

The point of view of this window was thus one of the difficult elements to distinctively conceptualize as it had to be formulated in a manner that justified my point, my relation the disconnection of me and the outer environment. The geometric and linearity of this feeling had to be clearly distributed in the composition that I wanted to express.

  IMG_0912

IMG_1229

01 trial

After drifting and changing and trying to justify the areas, I took my ideal into a place that is all of the time surrounding me. The window the chair the room is what I live in. This place is foreign and I have to feel comfortable in. Foreign bed, foreign chair, foreign view, everything is distinctively belonging to everything but not to me. Light and the window itself is one of the portrayals that I have to face every day if I want to or not. It is a view that I feel scared yet engage to hope for.  It is thus one of the most essential parts of my compositions. This portrayal is there and I need to find the proper way of composing it, into a reality that is my own.

The point of view of this window was thus one of the difficult elements to distinctively conceptualize as it had to be formulated in a manner that justified my point, my relation the disconnection of me and the outer environment. The geometric and linearity of this feeling had to be clearly distributed in the composition that I wanted to express.

01

02 copy

01

02

In the final image that I was able to construct I valued the different counter points that brought out this outcome. The geometric and regular aesthetic has been evaluated and considered in great depth. The idea of me facing the situation sheds an important aspect for my work to be viewed from. It is a portrayal that I want to share and make the viewer acknowledge this relation. The depth and idea concept of something changing yet being static has to be the main aspect of such a narrative. By developing and constructing an outline of a consecutive day to day shoots, I will be able to compose a work that will signify the whole aspect idea into one narrative. The dominance of such an overwhelming feeling will be put forth in order to acknowledge its purpose to me.

SP 2A- Outcome 1- Vojt Attempt Proposal- Page 3-5

‘VOJT’ Photography Proposal

‘“Silence is of the gods; only monkeys chatter.” ― Buster Keaton’ (Goodreads, 2014)

Everything in life follows a cycle that despite its unique qualities, it is part of a routine that has to maintain order to fulfill its existence. The act of photography itself profoundly evaluates such repetition into the process it takes to attain a photo. The method finds no sense of abstraction, but it follows a methodology that keeps on looping similar to the passing days. The photo itself takes a life of its own and eventually finds its end in order to allow change and new forms to be undertaken. (Barthes, 1977)

   01 trial 02 trial

I want to explore the vacant space. The notion of waking up feeling alienated to such space.

Work and Focus

I will be exploring an environment that I find myself within. It is a place where I have never been and I would like to highlight the sense of alienation and detachment that I find myself within. There is no connection with me in this place. It is me an observer of something that is foreign for me.

Similar to a mirror facing another mirror I would like to expose this relation that I am experiencing. Through such an evaluation I will understand further this amplified connection within such an environment. Upon doing this I will try to establish the roots of such experience.

Although the physical photo will foreshadow a direct, objective view of what I experience every day, the intellectual depth of such work will be fully immersed within artistic intellectual. The experience and detachment that the viewer will experience will be mutually connected with this situation. The regularity and mechanical anatomy of such work will further justify the sense of cold and numbness that it is foreseen every day.

Research Analysis

Influential visual artists and photographers that further sustained such a thought were Christian Boltanski, Tehching Hsieh, Candida Hofer, Edward Burtynaky, Andreas Gursky, William Eggleston, Andreas Gefeller, Shirin Neshat, Walter Niedermayr and Thomas Ruff.

As found in the photographic analysis of Andreas Gursky outlines the numbness and the mass structure of any organisation or traditions in different societies and cultures. Distant and detached, Gursky has the ability to capture a mass structure that is observed as objective element to both the viewer and the photographer. No kind of individualism can be found; his work conveys mass structure of human anatomy or production within architecture scenes. The huge amount of void and the insignificance of all this obliteration could be connected to the way society is developing in this contemporary lifestyle. Nothing is tangible and everything is obliterated within something that has no sensitivity. Another sense of alienation can be analysed in the empty scenes that Edward Burtynsky photographs. Through his work he brings out the significance that the individuality has in today’s life; were environmental and political shape up an outcome that individuals have to see and unfortunately as his photographs, they have no power on.

“These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times.” (Burtynsky, anon)

Evaluating work such as Shirin Neshat, ‘Women without men’ (2009), I could acknowledge how deeply immersed is the force of regularity, and how impossible to neglect its effect on us. As individuals try to come up with an ideology that can never change the truth that everyone has to face. This can be seen in clear terms in Christian Boltanski, ’The lottery of life’, were everyone is a number that lives and dies.

Deadpan values an image, that “acts [as a] fact-stating mode” (Cotton, 2004, p88), and thus the void it provides is the result of it. The saturated hues together with the scenario that one is placed in, plays a vital role in such a formula. As clearly seen in Takashi Homma‘s works, the environment that the subject is placed in takes a secondary significance to the one of the value and meaning it undermines. Takashi photos are taken from an angle that brings out the vacant and bare environment without any hint of human connection (Cotton, 2004, p88).

The monotone works of Lewis Baltz unveil a developed urbanized environment; were clean aesthetic shapes the vernacular image to the full. Through the employment of geometric linearity and light and shade he is able to bring out the flat and impactful value to his aesthetic.

This ideological approach of geometric proportions can be foreseen again in interior photographs of ‘Candida Hofer’. Where she is able to come up with a clean balance of light and perspective, upon which she creates a vision that, brings out stillness and “a deadening experience” (Cotton, 2004, p92).  Similar to Bernd and Hillar Becher, Candida Hofer has the ability to evaluate “spaces” and upon these areas she brings out a whole “typolog[ical]” analysis (Bright, 2005,p114). As Lana Del Ray famous album ‘Born to Die’ highlights an aesthetic that bring out parallel notions to the work that Candida Hofer is able to produce.

Observing life and the way it interacts with humanity, one can root a sense of insignificance. The community at large deeply under values the presence of individuals in the way they mass produce and reproduce.

“The work of punching the clock includes but is not limited to just a 9 to 5 work day; it is 24/7 for a year, it becomes life itself. It is a gesture of repetition, a Sisyphean absurdity.” (Forrest, 2014) The individuality of something lost all the uniqueness and what individuals are most of the time presented with is the sheer reality in everything they do.  As deeply evaluated by Tehching Hsieh in one of his great works ‘Time Clock Piece’- 1981; a performance journey, punching an industrial clock to bring out the idea of repetition and the concept of bland indifferent reality into perspective. (BondiGeek, 2013)

Time and Location

This work will be evaluated through a period of seven weeks. The photo process commenced from the 30th September – 18th November 2014. All work will be tested and finally processed and will be presented in a form that will highlight fully the approach that I would like my viewers to perceive.

The place of such a typology will take place within the environment I reside. Such an environment has no connection with me and thus I want to employ such a place for the layout of my work. It is the continuous reminder that there is no emotion to it as many came before and others will come. It is a cycle that has no sense of attachment.

Update:

In my current exploration I am focusing on an Anatomy of work that brings out the sense of alienation. Keeping the concept within the same parallels I want to challenge and produce a body of work that will enable the viewer to look deeper into the concept that I am putting forward. Instead of keep on producing a face factual aesthetic I want to convey a sense of abstraction and deeper intellectual intake for a deeper conceptual acknowledgment of the work that I am producing. 

Print and Retouch

All prints will be printed in a monochrome tint. The black and white effect unveils the objective approach further. The prints will present in a manner that the viewer will get overwhelmed in looking for and seeing the same approach throughout the whole typographic analysis. Sound and ambiance will be documented and established with the final work.

Looking through different galleries both nationally and international, I could see how such type of work could be well presented within some gallery’s whereas some galleries have a concept based ideology that will not fit properly with such a work. Rather then producing a work to a direct focus market I shall refer to this work within a conceptual point of interest. Such work will not be limited to a certain age or groups but it will be open to anyone who has the ability to understand and connect with the work that I will be presenting.

Preliminary Experimentation

Further justification of these pictures will be recorded on the journal.

IMG_0708IMG_0710Camera angle and the manner I took these pictures justifies the exploration of me and the environment I surround myself in. Through such trails I was directed towards a place that I have focus and directed my notion on.

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Current Working Process

2 day pm 2 day am

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  Galleries:

 1.

Impressions Gallery in Bradford City Centre- evaluates work and interesting mass of work that fit quit well with what I would like to share.

http://www.impressions-gallery.com/exhibitions/exhibition.php?id=65

2.

Another interesting Gallery that shares values that I my work would work for is the gallery in Toronto G44. This photography ambience stresses on the concept of the work, where it is directed towards an intellectual environment rather for a market wise environment.

https://gallery44.org/about-gallery-44

3.

Another interesting space that such a work will find way would be the Blitz gallery, Valletta Malta.

It is a place where I could bring out my challenging concept to life.

http://thisisblitz.com/the-space/

Contact List:

Dr.Vince Briffa

http://www.vincebriffa.net/HomeA.html

Alexandra Pace (pending)

http://www.alexandrapace.com/

Bibliography:

Atwood, M. (1986). The handmaid’s tale (1st ed., p. 40). Boston: Houghton Mifflin Company.

Barthes, R. (1977). The death of the author. Image, music, text, 145.

BondiGeek, B. (2013). Das Platforms / Issue 26 / Indifference and repetition: An interview with Tehching Hsieh. [online] Dasplatforms.com. Available at:http://www.dasplatforms.com/magazines/issue-26/indifference-and-repetition-an-interview-with-tehching-hsieh [Accessed 25 September. 2014].

Bright, S. (2005). Art photography now. 1st ed. New York: Aperture.

Burtynsky, E. (2014). Edward Burtynsky – Artist Statement. [online] Edwardburtynsky.com. Available at: http://www.edwardburtynsky.com/site_contents/About/introAbout.html [Accessed 27 September. 2014].

Cotton, C. (2004). The photograph as contemporary art. 1st ed. London ; New York, NY: Thames & Hudson.

Forrest, N. (2014). INTERVIEW: Tehching Hsieh on His “Time Clock Piece” at Carriageworks, Sydney | Artinfo. [online] Artinfo. Available at:http://au.blouinartinfo.com/news/story/1037011/interview-tehching-hsieh-on-his-time-clock-piece-at [Accessed 27 September. 2014].

Goodreads, (2014). a quote by Buster Keaton. [online] Available at:http://www.goodreads.com/quotes/450665-silence-is-of-the-gods-only-monkeys-chatter[Accessed 27 September. 2014].

Martini, F., Welch, K., & Martini, F. (2004). Applications manual to accompany Fundamentals of anatomy & physiology, 6th edition (1st ed., p. 748). San Francisco, Calif.: Benjamin Cummings.

Images:

Figure 1:

http://neobservatory.org/reports/syria-a-modern-humanitarian-failure/

Figure 2:

http://thenaziholocaustjakestolfa.wordpress.com/how-the-holocaust-was-well-organized-and-efficient-mechanism-for-mass-killing/

Figure 3;

http://www.architectural-review.com/reviews/andreas-gurskys-eye-for-detail/8626969.article

Figure 4:

http://www.architectural-review.com/reviews/andreas-gurskys-eye-for-detail/8626969.article

URLS:

Andreas Gursky : https://artsy.net/artist/andreas-gursky

Edward Burtynsky: http://www.edwardburtynsky.com/

Takashi Homma: http://aperture.org/shop/takashi-homma-tokyo-book

Lewis Baltz : http://www.tate.org.uk/context-comment/video/tateshots-lewis-baltz

Candida Hofer: http://www.artnet.com/artists/candida-h%C3%B6fer/

Tehching Hsieh: http://www.tehchinghsieh.com/

Christian Boltanski: http://www.christian-boltanski.com/

Andreas Gefeller: http://www.andreasgefeller.com/

Shirin Neshat: http://womenwithoutmen.blog.indiepixfilms.com/

Walter Niedermayr: http://www.nordenhake.com/php/artist.php?RefID=15