I originally saw this work as a serious of photos published in a beautifully simple bound book. However the more I think of my work displayed beyond a single or series of framed images, the more I want to book to relate to how my work is presented. Louis Reith was the first to grab my attention. His monochrome Décor - made from old book pages and assembled to function as a new visual story that he wants to represent. I don't feel the need to do that, I am more drawn to the collage style and printing methods he uses. I like the very basic approach of the printing, that allows there to be more freedom when creating the layout and images, without it being too overwhelming and messy.
Though I have not had much of a chance to start putting a book, I intend to experiment in the next few modules.
I have also started to think about layering and using different page sizes and papers for my publication. I think by combining different, sizes and paper, it will give the book a unique feel to it, and possibly a very direct extension of certain buildings and Land I visit.
"I think of my life’s work as a celebration of all of nature, an orchestra that plays not the sounds of one musician, the music of one species, but rather an expression of all of nature’s songs."
- Gregory Colbert
Gregory Colbert's’ Ashes to Snow exhibitions, has long been an inspiration, mostly because they are so immersive.
The work that he creates is very intimate, bold and moving, and I think that allowing people to really feel the full expression of his work an immersive experience is the only way to really do so. I also feel that when you create such an experience, it opens up the work to more people and a wider audience, as there is a draw not just to the work, but to the event its self.
When I come to producing my own work and creating an experience, realistically I will not be producing a show on such a scale as Ashes to Snow, but I want to take elements from it. I want to be able to create spaces that are intriguing, intimate and open to a verity of people.
Creating small structures that could be placed almost anywhere, at this stage would be very doable.
Have something small with minimal materials will be easy enough to construct and place in a public space, where it would be accessible to a number of different people.
I have been thinking about producing a small exhibit with 3-4 images printed and presenting them in some sort of fashion such as the examples below.
Title of work: High Desert.
Keywords: Land, Community, Interdisciplinary, Collaboration.
Methods and methodologies: With this project, I will be exploring high desert areas in the American west (California, Arizona, and Colorado ) I wish to do so with of mix of techniques, such as digital, 120/35mm as well as cyanotypes.
These images will range from environmental portraits to landscape within the communities I will be visiting.
I feel that this approach will offer a wider perspective of the subject and hopefully and alternative approach to straightforward documentary photography.
I have also considered producing a few short videos that will help document the people and surroundings, as well as show my process. I hope to do this with my creative partner Mae Frances, so I can focus on producing images for my project.
Number of shoots: I intend to travel to my chosen locations and spend a few days shooting at each.
I plan to produce a number of images with my chosen mediums that will be made into a publication and exhibit.
All the work produced relates to my final project and is allowing me to explore, and connect with people within certain communities I am visiting as well as the approach and techniques I want to use during this project. I feel that is helping refine and explore new ways of using digital and alternative process alongside each other.
After my first trip to Twentynine Palms, I came across Kim Stringfellow. Her work explores the Mojave desert. The Jackrabbit Homestead, in particular, caught my eye. They are a collection of mostly abandoned shacks left from their former residents, who received the land from the US government as part of the Small Trace Act of 1938.
Stringfellow spent time documenting some of the abandoned houses as well as interviewing local residents, historians, and artist, which reside in reclaimed structures and use them as inspiration for their work.
This led Stringfellow to produce a photobook, photographic exhibit, and web-based multimedia presentation featuring a downloadable car audio tour exploring the cultural legacy of the Small Tract Act.
This work and other projects that she has worked on, has greatly inspired how I want to approach my own work and allowed me to truly think about the presentation and methods that I could use to present my work and make it accessible to multiple audiences.