Surfaces & Strategies
I have started to think about transparent prints, right now I have only made it as far as printing on transparent film, and I have played with the images as a negative and not. I think I will be happy to experiment with this a little more. The first sets were fine, but I feel that there is more room to get more creative with printing my images like this.
I have also used the transparent prints to play around with cyanotype prints, again, this time I kept it very simple but enjoyed the process printing on ready-made cyanotype cloth, and ordered the chemicals so I can start to experiment with my own materials, and start figuring out if this is a path I truly want to take my project.
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 have recently come across work by Elana Damiani, and have been very inspired by her project Fading Feilds which reflects on the past and present.
The viewer struggles to grasp at once to totality of the image, which keeps fusing with the space in the background. As a result, the works function as constant reminders that it is only through the eyes of the present that we can catch a glimpse of the past, and that both realms -virtual and physical- merge constantly in the act of remembrance.
- Elena Damiani
The images from this project of hers are printed on to silk chiffon, which is translucent and causes the image to fade in and out of site depending on the position of the viewer.
I find my self drawn to her way of layering and manipulation of the images without making to many changes to the actual photo its self and allowing each image to be its self, and this has inspired me to start thinking that rephotography could play a role in my work, to help make the past of certain area's like Twentynine palms more apparent and shows it’s evolution to the present.
I am also very inspired by the way this work is presented. Having it displayed at a large scale helps to really capture the viewer's attention and wonder, allowing them to "play" with images.
"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.
My last two trips I have been keeping a visual travel journal, (That I post to my instagram highlights) with photos mostly taken with my phone. I find that it helps me think about how I want to approach the space and the people within it and when using a phone, especially when I first get to a new location I find that it is less intrusive and a little more discrete.
Full WIP gallery can be found here.
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.