My Shoot: Shrinking Violet

Possible introduction for my photo book: ‘I refuse to be a shrinking violet. I will not allow old tradition to consume my freedom and make me succumb to the societal norms that are expected of me.’ I made this quote up myself and thought that it would be good to have at the front of my photo book as this is something that many women say they aren’t yet they seem to contradict themselves by taking on the role of homemaker and taking care of the house. I think that the images that I have created will add to the sarcasm of my work and really reflect how I feel about the traditional role of the woman.

This shoot came from a short film that I made of my mum and her role within the household. I really took on board what she had to say and found it very interesting, which inspired me to come up with the idea for this shoot. One of the main points of this shoot is sarcasm, in a sense it is a parody of my mother and how she is represented. I find that the role of the modern day woman is still very much focused on old traditions and leaves women in an in-between of full-time work and full-time chores at home. Instead of women staying at home and doing all of the cooking, cleaning and food shopping they are now going out and getting jobs yet the expectation still lies solely on the shoulders of women to do all the cooking, cleaning and food shopping. I find it ridiculous that even in a modern society we still have these unfair expectations, women aren’t slaves and shouldn’t be treated so within their own homes. This shoot embodies my mother in a more glamorised sense as many people try to say that doing all of the household chores isn’t that bad and I wanted to add in the expectation built up and constantly pushing down on women of having to be perfect and to look beautiful all of the time. This notion of beauty and being perfect for a man is bizarre and something that no woman should think she has to aspire to. This shoot really tells the story of all women and brings a visual understanding to the expectations and limitations women are faced with in our Western world.
The reason that I titled this shoot ‘Shrinking Violet’ is because when interviewing my mum she used this term and while reviewing the footage and listening to the audio over and over this is what really stood out to me. It made me think about how women seem to automatically become shrinking violets in their own home, many women just accept that their role is to be the homemaker and shy away from the possibility of creating a more equal living space simply because it wasn’t the way that they were brought up. I feel that this can partly be a generation thing but my mum has always been an important figure to me and she does all of the cooking, cleaning and food shopping yet I don’t want to be the same as her and I don’t want to live in the same way that she does. Somewhere down the line, that shrinking violet changes her mind and realises that she doesn’t need to be the one and shouldn’t be the one to do all of the chores and to be a housewife. Nowadays most women have jobs yet a lot of those women still think that it is ok to do 100% of the chores and the housework. I like the title Shrinking Violet purely because I liked it and it seemed to really fit with what I am doing.

I made images around my house of cleaning products and parts of the house that you usually wouldn’t focus on. I wanted to show the little details of what is around my house and the usually boring elements of cleaning etc. I want to add these images in colour into my book to add more detail to my work and to show the reality of what goes on in an average household. Along with this I will be adding black and white images that I am in as they are the staged images and parody the traditional role of the woman within our society. I chose to make these images black and white so that they would stand out more against the coloured images and I just find that with them being in black and white the spectator is more able to actually focus in on the message behind the images and what the subject is doing rather than looking around the image and being attracted to different colours, leaving my spectator distracted from what I actually want them to focus on.

How I made staged images

Instead of going back and forth to make photographs being both the director and the subject of the photos, I came up with the idea to just film myself. This was so much easier as I was able to just stand still in the footage and change the position of my body and the direction of my head and eyes. I then put that footage onto Adobe Premier Pro and took screenshots of my favourite images. I then took to Photoshop and edited them all individually. I prefer Photoshop to Lightroom and although it does take longer I’m just used to editing my photos there. After editing all of the images and making them black and white I opened them up in Lightroom and began making my photo book. This was challenging at first as I didn’t really know how to use Lightroom but eventually I got the hang of it and made my final photo book which I am happy with. I am also very happy with the images that I produced for this project and feel that they have been done well.


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This is one of my favourite images in the whole series as it brings more detail to the spectator and really does remind me of a film still. I feel that this image is effective in black and white and adds to the mystery of the image. I took inspiration from Cindy Sherman’s Untitled Film Stills and how she presents herself within those images. She never really looks into the camera and always looks off into the distance in some sort of trance. I feel that my portray and version of this has worked well and really does portray my persona as a robotic traditional woman. I chose to compose my image at a bit of a lower angle and rested my camera on the worktop with a folded bag holding up the lens to the angle that I wanted it. I then recorded for a short while of me posing in similar ways to then take stills from to create images. This is my favourite still from this particular video. The facial expression of my persona looks very neutral and possibly unimpressed. As if I am unhappy doing what I am doing yet I still do it out of routine and tradition.

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I wanted to explain this image more in depth. This particular image was inspired by some footage that I made of my mum while filming her for my short film. In the footage I found that my mum was always in awkward positions and always down on her knees to get every last bit of the house clean. I took that and wanted to make an image where my subject is stood in an awkward looking position. In this image I also wanted to try and represent how these women always seem to be juggling two different things at once. I also decided to look off into the distance as if it is systematic for me to be doing the chores and I don’t even need to concentrate to be able to do it. I really like this image and like that my persona is centred in the middle of the image with the two open doors either side of the subject. I wanted the doors to be open as I thought it would look better than it just being plain white in the background.

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I wanted to make this image purely because it is different and not a usual photograph that you would expect to see. I wanted to have the subject in heels on one side with the other showing the oven and a tea towel in the shot to show how women are expected to be glamorous and to always be put together. I feel that women are faced with this expectation constantly and are always being put down and ridiculed if they aren’t constantly put together. This is one of my favourite images as it doesn’t show much of who is doing the chores but represents women that do. It allows my spectator to identify more with the persona and think of themselves in her shoes. I also like the light shadow that is at the top of my legs from my dress, it just makes the image more interesting. MVI_3499.00_00_07_20.Still055baw

This particular image is heavily inspired by a shot that I got of my mum when making my short film for this project. I liked how it looked and wanted to recreate this with my persona. I find this image interesting, it almost looks strange too. It is odd to find a woman doing house chores in heels and a dress but that is the whole point of my shoot. I just really like this image and think that my spectators will like to look at it. I find that this shoot makes the mundane of doing house chores look a lot more exciting. I find that the position that the subject is in looks robotic and this is exactly what I wanted to portray.

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Feeding the shrinking violet. I chose to have these flowers act as the shrinking violet because they are beautiful yet quite, obviously as they are flowers. I like this image as I chose to look away and make it seem as though I didn’t even know that I was feeding it which symbolises what many women seem to do. They allow themselves to take on the traditional role of the woman without ever challenging it or wanting to change the expectations placed on women. I like this image and the position of my persona as it looks as though I’m not even trying, again this is something that I feel women do. They just repeat the same old process and routine without even thinking about it, they become slaves in their own homes. I like the composition of this photograph and that it is a medium shot of my persona. I feel that the image is at the perfect size and angle to get the flower in as well as its plant pot as well as just enough detail of my persona to fit into the image too.

Image comparison | B&W vs colour

analysis
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analysis 2
analysis 2
analysis 3
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Essay | Source Bank

Sources | Books

– Bachelors – Rosalind Krauss
– The Complete Untitled Film Stills – Cindy Sherman
– Jersey Heritage Trust – Heritage Magazine
– We Should All Be Feminists – Chimamanda Ngozi Adichie

Sources | Online interviews [YouTube clips]

Interview with Cindy Sherman:

https://www.youtube.com/watch?v=tiszC33puc0

Sources | Articles

– Bloomberg Business review on Cindy Sherman
– Article on the work of Claude Cahun: http://articles.chicagotribune.com/2012-04-11/entertainment/ct-ent-0412-claude-cahun-review-20120411_1_portraits-art-institute-masks
– Chicago Tribune article on ‘Provocative new exhibit full of self-portraits from Claude Cahun
– Feminist Art Archive review on Claude Cahun

Behind Every Good Man There Is A Great Woman | My Shoot

This shoot is very personal to me. It is about my mother and how she runs the house and seems to do everything. I wanted to do this shoot to show the unfair pressures that are put on women with families as they always seem to have to run the household and run around everywhere and be expected to do it all every single day. This is a more ‘traditional’ or old-fashioned household where the woman is now expected to work a full-time job only to come home to do all the cooking, cleaning and maintaining the home. Through my work my mother represents many women that go through this every single day. Growing up I would always look at my mothers role and think that I don’t want that kind of life, where I’m expected to do everything and basically live to serve. To me, she almost becomes a slave in her own home. I don’t want that kind of life and through this shoot I want to find out more about her role and what she thinks about it through interviews with her.
I get really annoyed when I see my mum running around and doing everything for my family. I do have to say that sometimes I am really lazy and don’t do much but I am a teenager and we are known for being extremely lazy. Both my parents should be doing equal amounts of chores to maintain the house, not just my mum. It is so frustrating to see my mum come home later than my dad and go straight into the kitchen to start making dinner when my dad has been home and is more than capable of making it too. However, my dad does sometimes make me dinner but only when my mum is working late or out. They should both equally be spreading things out and working as a team to get all of the chores done rather than just allowing my mum to do it all. There is another side to this though because there have been occasions when I’ve tried to help my mum peel potatoes or vacuum the floor and she just tends to prefer to do it all herself but this is because it is what she is used to and how she has grown to become accustomed to just doing it all on her own. There is not a single part of me that looks at my mums role in the household and wants to do it. I don’t want to come home from a hard day of working to them work some more and not get to rest until I go to bed. I have no desire to be a ‘housewife’ and run after my husband day in and day out. It just isn’t for me. Yet some women are happy and willing to do this which I accept but I feel that, with my mum especially, it has been placed on them since a young age so they know no different and just think that doing everything is the norm and they should always be doing the chores, cleaning and food shopping. Through some interviews I hope to find out a bit  more about why she does it all and what she actually thinks about all of the work that she does.

Reflection | Progress so far

After reviewing footage that I have already got of my mum, none of it seems good enough to me to be a still. It just isn’t that interesting on its own. I want to make this film great and for it to stand out and be as visually pleasing as it is interesting to listen to. I am constantly looking at the composition of the shots and getting different angles to make my film more appealing and it is going well. I have managed to collect some good shots together that flow well with the interview which I have playing over the footage. It looks great altogether and really does make sense and is interesting but a still on its own just doesn’t look right and, in my opinion, isn’t a strong enough image to really impact my spectator. This footage will be staying as a film and not made into stills. The only stills that might make it as finals will be the ones of me re-staging and parodying my mums role in the household from the footage I have made of her. I think that this is the best way to move forward as it will be a whole lot more interesting for my spectator who can then go to the film and watch it to get more background and context to the images that I have made. Honestly, I find looking at stills of the film boring and it makes me disinterested, maybe that’s because I see it all the time and I’m just used to seeing my mum doing all the work but I just don’t think the shots look good enough to make a spectator think ‘whoah, this is amazing’ so I’m definitely going to be making this a film ONLY and then using the images that I will be making as stills.

I’m continuously collecting together shots of my mum and her life to be able to make the best film that I possibly can. A new layer which I have added to my film is archive images, here I got my mum to find images of her parents and of herself when she was younger just to make it that more personal as well as putting a face to the name with the interview. I have also got some footage of my own archive images of me when I was younger and also images alongside my older sister and my mum [my dad was always behind the camera]. I really like the footage that I have so far and think that it really makes my short film that much better allowing my audience in on my personal life and my mother’s life a bit more. This was really nice to see images of my grandparents as I have never met either of them, they both died before I was born, so seeing these images was a nice experience. It was also quite funny to look back at old family images of me and my sisters too. I like the idea of adding in these archive images as I really love the way those old images look, they are all old images from the 60s of my mums family.
I also have more footage of my mum. I went food shopping with her and have filmed her doing what she would usually do when food shopping, this was interesting to see the heavy bags that my mum lifts and how boring food shopping can be, especially when you have to do it alone. I really appreciate what my mum does and I want my work to reflect that, to show just how much she does for me and my family. The shots are coming together nicely and I am well into the editing process and have accumulated many shots to bring visuals to the audio interview that I did with my mum. One thing that I think I will need to change about my audio footage is the ending as it just kind of ends and I want it to have a better ending, something that will have more of an impact and that will also leave my audience thinking about the role that their own mothers have within their household.

After editing the clips together for a while now I am starting to really see progress and am liking what I have created so far. I still need to collect together some other shots of archive images as well as possibly some more footage of my mum just to bring the whole video together and to get the final bits needed. I am actually missing a bit of a chunk of footage within my short film where my mum is talking about her religion and why she didn’t bring me up in the same way that she was brought up which I haven’t made much footage for and am trying to come up with ideas as to how I would be able to fill that gap as my mum literally only has one small candle in our whole house that resembles her religion and the rest is pretty neutral. I also can’t film her parents as neither of them are alive and my mum only really has one proper image of them and that is in a family photo with my mums parents and two of her sisters. I think that I might be able to get some footage of my two Auntie’s as they are over from Scotland [from 9th-13th February] but I am unsure how relevant this will be in my short film. I have also got the idea of possibly going to a church and filming around there to fill in the gaps in my short film, I also actually have some shots from a Notre Dame church when I went to the South of France a few years ago which I may be able to use.
I’ve had a think and reviewed my short film so far and think that it will just be best to actually go to a local church and ask if I can film around to get the clips and shots that are needed. I couldn’t find the clips from when I went away on holiday with my parents and we visited a Notre Dame church so I will just have to go out and get the new footage as planned. I also don’t think that it would be relevant to get footage of my auntie’s as they are not mentioned at all throughout the interview and it just wouldn’t fit in with the rest of my short film. Overall, I am happy with how it looks so far and think that it has potential to look really good once everything is added and it is all done. Watching this short film come together and listening to what my mum has to say has given me some inspiration to create another short film about feminism with a voice over. I think that this will be beneficial to my project and will actually work out much better than a magazine would as I will be able to take stills from this project and put them into a photo book.
UPDATE: Over the half term I have been working on my short film and managed to get some extra footage of a church to fit in with the audio where my mum talks about her religion. I think that these shots have worked well in my short film and it is really starting to come together. I realized which editing that I still need to get some shots of my mum putting on her work clothes and getting ready for work as there is a section where she mentions what she does so this would fit in quite nicely. I will be getting these shots this week and adding them into my short film.

What next?

So after looking through this footage and putting together the whole video I wanted to keep up with my idea of parodying her role and mimicking what she does myself in a series of images. I want these images to be a reflection of how I see my mum and what she kind of represents to me. I am going to be staging images dressed in one of my mum’s dresses and I am going to change my hair around so that it looks like her hairstyle. I want to make these images stand out and to be interesting to look at, somehow I need to make cooking and cleaning look interesting. Taking inspiration from Cindy Sherman I want to make my new persona/character almost unrealistic, something that you would only ever see in movies or something. This will just make the images stand out more and will really emphasis that I am parodying the way women, specifically my mum, are perceived within our modern society. These images will be taken over the half term and my aim is to get at least two images from each part of my mums role. For example, I will be doing a shoot in the kitchen, one shoot will be in the bathroom cleaning, another will be in the living room cleaning and another shoot would also be food shopping. Little shoots that I want to hold big impact and to really send a clear message to my spectator about the role of women in modern society and how flawed it all is.

Short Film | An interview with my mum

Here is the finished short film all about my mum. I interviewed her asking various questions and from there have created a sequence of shots that correspond to what she is saying. I think that this short film has worked well and it gave me more of an insight as to what my mum thinks and as a personal study has really helped me to develop my thoughts on feminism as well as how I see my mums role compared to my own. This short film has given me inspiration to create more images based around the woman’s role within our Western society and what is expected of her.

https://www.youtube.com/watch?v=cx5ayloQdsI

Short Film | Evaluation

I wanted to explain some of the shots I made in my short film in a bit more depth to show the meaning behind them. I feel that my short film has been successful and does represent my mother and many other women that follow the same traditional role as her. I wanted my short film to stand out and for the visuals to bring to life what my mother is saying in the interview. I really think that this project has given me a better understanding of my mother’s role and has really solidified for me the fight for equality in not only the Western world but the entire globe. I feel that this project has allowed me to develop my knowledge and understanding of other women fighting for their freedom and has helped me to understand more clearly that women need to fight for their rights and for our voices to be heard we need to stand up for what we believe in.

Image analysis 1

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clip from short film

I put this clip in where my mum talks about her mother and how my mum’s role is harder than that of her own mother’s as she has a full-time job. The reason for this is actually because in the background of this is the location of my mum’s work and I wanted to have it as a subtle background just because I think that it looks better this way. I like this shot as my mum is concentrating on the road and not on the camera so it looks a lot more natural and she is acting as if the camera isn’t even there. I think that I was at an advantage throughout as my mum obviously feels comfortable around me and isn’t worried or nervous about what I am filming of her. I think being an insider for this project has helped me to create a much more precise and accurate project as I’ve known my mum my entire life and by now I understand her role and I am there everyday so I know what she does and doesn’t do. I feel that this clip is also interesting as it is slightly darker than a lot of my footage and stands out making my audience/spectator look at it more and want to analyse it more.

Image analysis 2

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clip from short film

I love this still! This is an archive image that I decided to add into my project just to add more layers and to make it more personal for audience. The photo on the left is of my mother when she was younger and the one on the right is of me. I wanted to put the two next to one another as I find that we look so much alike in these images. I like this clip as it fits in to what my mum was talking about and the question I asked about how I was raised compared to how my mum was raised. I think that using archive images really helps with the development of my project and makes it more personal to me sharing old photographs of my childhood as well as looking more into the childhood of my mother. I this that the composition of this photograph is good as there is an even amount of space around the sides of the entire image and I also like how I have placed the images too. I wanted them to slightly overlap one another as I wanted the main elements of the images to be how similar I look to my mother when we were both younger. I chose to just put the images on a bed with a white cover as this is the room that my mum keeps the images, right next to her bed in a cupboard and in a small box. I think that this just makes it more authentic and adds yet another more personal layer to my project.

Image analysis 3

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clip from short film

This shot is from a mini sequence that I created of my mum getting ready for work. Here the audio is my mum explaining her job and how many females there are at her work. I didn’t want to film her at work as the whole thing about my project is her life at home and her role within the household. I wanted my mum to be putting on her makeup as she usually does as it shows the expectation put on women to be glamorous and to look feminine. I just thought that this would be a nice extension on showing what are expected of women within our society as being the homemaker as well as constantly being glamorous. This has helped me with the idea for my stills mimicking my mums role and creating a new persona that parody’s her role and the traditional expectation of the role of women in our society. I also think that this is a good shot and I like the composition of a close up of my mum on the left hand side of the clip while the right hand side shows the mirror she is looking into adding more context to the still. I really like this still as it is clear and interesting to look at and one of the rare shots showing my mum at a closer angle than I usually do. Within my short film I have mainly shot from afar and looking at my mum from a distance but this shot makes it more personal and shows the actual features of my mum’s face more up close.

Image analysis 4

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clip from short film

I decided to go down to St. Thomas’ church to get some footage around the building to go with the audio of my mum talking about her early life as a Catholic and her religion. I find that these shots bring to life what my mum is talking about and blends well with the whole film. I like this shot in particular as the painting in the frame is perfectly centered in the middle of the clip and I really like how the shadow falls as the light shines down on the painting. I also chose to film this particular painting because of the writing around it, ‘THE KING’S GOOD SERVANT BUT GOD’S FIRST’.  I find this really interesting as it shows how devoted people are to their religion and that they would first follow God over any ruler. I also wanted to add this in kind of as a symbol of how my mum doesn’t really practice Catholicism. I really like that the light is shining down on the painting as many people see God as a ray of light and his light will shine down on you. This just brings the still together and adds to how many people see religion.

Image analysis 5

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clip from short film

I added in archive images for my short film as it makes it a lot more personal and as I’m interviewing my mum I thought it would fit to share images of my early life and the life of my mum. I like the images that I have chosen as it shows happy moments in our lives and it matches with what my mum is talking about. It is also good for my spectator to see a little more of my life and my family and how I was brought up compared to how my mum had been brought up. I like adding in archive images as there is something quite unique about them, they are printed and show an older form of media which seems to be getting lost in the age of phones and storing images of computers.

Image analysis 6

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clip from short film

I really like this shot of my mum cleaning as you aren’t really able to see her too clearly but the focus is on what she is doing and her surroundings. I like that my mum’s face isn’t visible in the shot as it adds a sense of mystery and makes my audience want to see her face and to find out a little more about her. I like the harsh lighting in this image with it being quite dark and just a ray of natural light coming through the large windows. I think that this still adds to the story of how my mum is continuously cleaning up after everyone and is even getting down on her hands and knees to make sure the flat is looking how she wants it to look. This shot does work really well within my short film and adds to the little details of what my mum does and how she does it. This also gave me some inspiration for my photo shoot as she always seems to be in awkward positions to try and get everything clean and she seems to always be juggling so many jobs at one time. I wanted to exaggerate this in my own work and this image has really helped me to develop this idea further.

Extra Clips Used | Research

Here are the videos that I got snippets from for my short film to add more context to what my mum is saying and to also give my short film more layers and allow my audience to visually see what my mum may be talking about and expressing.

https://www.youtube.com/watch?v=zWsfNyBZebY

https://www.youtube.com/watch?v=OXeY344_sMI

Madeira Island: Picture Edits

In order to emulate the style of the photographer Sebastiao Salgado, I’ve turned the majority of these photographs into black and white. I think that Salgado uses this filter as it takes the viewer’s concentration off of the colors and more onto the emotions and feelings that can be felt from the image:

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I took the picture above at a viewpoint called ‘Pico do Facho’. The high altitude allowed me to get a great view of the harbor and separate beaches. The beach is surrounded by modern and exquisite buildings. I like the fact that you can see almost a completely different parish, just by looked further ahead. In addition, the airport is visibly in sight on the rock cliff.

The composition contains many leading lines. The curved edges of the island may make the viewer look at various different points on the picture.

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Pigeons are very common in Madeira, and are always roaming the sky’s and luckily spotted some. Although one is white and one is grey, they both seem to be domesticated pigeons (rock pigeons).

The pair that are in my photograph are interestingly facing opposite directions. Therefore, there’s not only a contrast between their color, but also their positions.

I took this photograph from the bottom of a rock mount, therefore my perspective allowed me to only capture the bird’s heads.

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This picture was taken at the airport in ‘Santa Cruz’. It was a clear afternoon and the sky was crowded with clouds.

I think that the composition is quite good, in that: the airplane is situated in the middle of the shot. Additionally, the barbed wire is intercepting the main ‘hot-spots’ of the rule of thirds, as well as adding detail. The fence and wire also frame the photograph in a weird manner, making the viewer’s gaze turn to the left hand side of the image; where the plane is headed.

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Just outside the airport, I spotted this petrol station.
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Recording one- interviews

Recording three- interviews:

I have interviewed both my mother and grandmother in order to fully understand my grandfather’s life and the memories they have of him. I wanted to learn how my grandmother and grandfather met, the struggles of their divorce and how they managed to remain close friends years after. I also wanted to know what it was like to raise eight children and the type of life style they had. The more I find out about my grandfather the better I can produce images which truly symbolise him. Furthermore, when interviewing my mother I wanted to find out about the type of father daughter relationship they had. 

Interview one- Mary Robins

What reminds you of Richard Le Claire?

M- What reminds me of Richard Le Claire? My children, yes my children, er one in particular my second son looks a lot like him. Whenever I see him I remember, I remember when we were very young, we met when we’d play together, when I was about five and he was about twelve. That’s when I first met him, I didn’t see him for a few years and then I met him again and we use to all go out together, his sister Anne and Reg, they are both gone now. And we use to go sit on Howard Davis Park and have tea together, that reminds me of him.  He was a very very shy man, we use to go to the Dinner dances for the post office, it was my once a yearly outing. I use to dance but he didn’t dance. Sometimes after we had our meal and the dancing started he would disappear and go home. He didn’t like dancing but he didn’t mind me staying.

What sort of jobs did he have?

Well he worked for Horn Brothers for many many years but it wasn’t a very good paying job, and he was a carpenter and plasterer and it was hard work. Sometimes he would have to lose days because there wasn’t enough work for him to do, but then somebody offered him a job at the brewery. He loved the work at the brewery because it was inside and he made a lot of friends, and he worked there until he was retired.

Could you tell me a little bit about your wedding and your children?

My wedding, well we go married in the town church, I wore blue with a little hat. We lived together with the children, we were there until Robert, Richard and Jenny were born. It was quite an old house, the yard was pretty grim but we were very happy. But then we moved to Grassett Park when, I think I was pregnant with Michael, I had Andrew, Joy and Christine at Grassett Park.

Do you still have the wedding ring?

No, when we quarrelled he threw it away, which I was quite upset about really but we became very good friends after that we were only bad friends for a little while.

Do you miss him?  

Yeah I miss him, I was very upset when he died we had some good years together, we didn’t have a lot of money but we had fun. We made the best of what we had and we loved eacherother for a long time. I still think of him a lot and still love him.

Do you cherish the memories you had with him?

Yeah, I do, I do cherish the memories. I was very sorry he died when he did it was very sad.

Interview two- Christine Benning 

What reminds you of Richard Le Claire? For example, smells, colours, holidays etc. 

Do you miss him?

How did you deal with the grieving of your father?

Do you find comfort and happiness when looking at archive images of him? 

Influenced Photo Book Design Ideas

The Title – “The Creation of a Home” 

For my photo book study, I have decided to name the project ‘The Creation of a Home’, as I believe it fully addresses the key hypothesis’s of my project. ‘The Creation’ part, succumbs the development and construction of our new family lives and how as people we fit in to a certain place with our belongings and emotions. I also wanted to distinguish the difference between a ‘house’ and a ‘home’ as a ‘house’ can be defined as ” a building for human habitation”. This definition describes little life and personality, ‘human habitation’ vaguely suppresses the way humans act and become desirable to an environment – how they make it there own. A ‘home’ however, can be defined as: “the place where one lives permanently, especially as a member of a family or household”, or “the family or social unit occupying a permanent residence”. This sense of permanence allows the reader to understand the commitment and time taken to make a ‘house’ a ‘home’, as there is much more to a house than just walls and foundations.

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Hard-Cover First Page

First Pages and Title Page 

For my beginning title pages, I have began trying to experiment with my archival material. As mentioned in my personal study,  Domingo, Costa and Dorley-Brown have all inspired me to incorporate archive material and mediums to create context and historical aspects, in order to relieve a sense of purpose and relationship with the reader. This beginning front cover allows the reader to get an idea, i like how the image I’ve chosen isn’t too clear, so the reader has time to picture what

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The page before my main title page – I wanted to give the reader a flavour of what is to come by containing an image of the new home. I felt this cleverly contrasted with the main front cover as well as this incorporated the predominate theme of ‘old’ and ‘new’ and that there has been a development yet to be discovered.
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Main Title Page – I chose this font and size I wanted it to be quite simple, like Rita’s “Where Mimosa Boom”, the style is quite classic and I wanted that feature to be replicated in my own study.

Pages and Page Layout

I have started to explore the different formations and sequences my pictures can fit into, to make it more interesting and easy for the reader to understand. This is all in awe of the techniques used by the three artists I studied closely in my Personal Study: Rita Puig-Serra Costa (“Where Mimosa Bloom”), Inaki Domingo (“Ser Sangre”) and Chris Dorley-Brown (“The Longest Way Round”).

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My own archived image of my old house’s advertisement – this is what my parents viewed when wanting to buy the house before I was born. The next image on the following page shows an image captured by my dad once moved in. This sequencing I felt initiated the idea of how time has passed and a decision had been made, following the flowing theme of transgression and change in my overall project’s hypothesis.

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For some images (as seen above), I’ve used a double page spread so that the image is divided. I feel this technique is very effective, I really like the way it allows both pages to be covered but with the idea of there being a border there too, it lets the reader stand back and see the whole image without becoming too involved. This was in the style of Domingo as his piece “Ser Sangre” consists of multiple full page spreads.

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My portrait of close family member Paula, with an image of a landscape near to our new home.
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Pictured above is Rita Puig-Serra Costa’s original image from her series photo-book “Where Mimosa Bloom”. As you can clearly see, I have manipulated her style by incorporating objects or landscapes connected with that person, as photographed next to it. I feel this style is really effective, and during my planning and development of my book I found this an easy way to address my notions within my hypothesis so that the reader can simply understand.

I have also included drawings and more personal mediums as included in Domingo’s work “Ser Sangre” to make the feeling of ‘family’ more of a reality. I feel this effect allows

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An extract from “Ser Sangre” – Drawing
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In my own photo book used drawings like Domingo to fit his style.

I have also used influence also from Chris Dorley-Brown’s: “The Longest Way Round” as his ongoing use of archival images of the War and Post War era are bounded together using his own photographs. During my internship at Jersey’s Photographic Archive, I came across similar styled images which show the history my new home.  Placing the images in a formation like a comparison on either side of the pages, I wanted to establish to the reader the themes of ‘old’, ‘new’, transgression and change.

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Pictured left is my own archived image of the new house, with a contrasted image I took myself.
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Images from “The Longest Way Round” which shows the use of Dorley-Brown’s constant use of extracted archival material.

What type of book am I going to be using? (size / material/ etc. )

Size – Small Portrait (23×16.5 cm)

Paper Type – Matte paper

Final Essay

Question: How has Boltanski, Abril and Toroptsov represented the concept of capturing the invisible and reflecting the meaning of memory through the medium of photography?

‘Someone once said that you die twice: when you die the first time and when somebody finds a photo of you and no longer remembers who it shows.’

We are made up of fragmented memories and forgotten dreams. Our entirety rests in the fate of old letters, burnt photographs and meaningless possessions. We never question the invisible, it is as though we are on a relentless pursuit to try and capture what we cannot see.  We abide by the rules and limitations that are enforced by the concept of death. But what happens to those who become untouchable, those who are no longer part of the flux. Their existence becomes empty and lost, they are no longer perceptible to the eye. Yet we still feel impossible and unexplained connections to the spiritless. We yearn to cherish the ‘good’ memories and except the restrictions we are faced with, regarding mortality. In doing so, the feeling of life is created, the tangibility of pleasure and pain enters our worlds and consumes us. But, photographs hold heritage and meaning, they have a depth of knowledge and feeling to them. Photographs capture single moments of existence. They can tell a story of a second in a stranger’s life in an instance. Whether it be personal, isolated, private or rare, it is has an essence of being and timelessness. The allure of time, is its youthfulness. Time is the cure for it never fails to reveal the truth. ‘Human life is embedded in time: we remember the past, we plan for the future and we live in the present. We swim in an ever-rolling stream.’ 

I am exploring how the invisible can be captured and portrayed through the medium of photography. And why memories hold such a powerful influence over our past, present and future. I want to find out what makes a photograph meaningful, what gives the photograph reality and how through photography the memory of a person can live on. My project focuses on exploring the invisible through three female generation’s memories; this includes my grandmother, my mother and myself. These distinctive viewpoints will enable my project to become more personal and really seek the depths of my grandfather’s life. I think memory is more than simply remembering a once present thought, but it is about connecting with the past in order for it to live on. 

Christian Boltanski, Laia Abril and Yury Toroptsov all delve into the idea of memory, seeking a way in which they can capture and meaningfully discover the rawness of an image and what it can represent. I took a considerable amount of influence from Laia Abril’s photo book ‘The Epilogue’, her scientific approach to the reconstruction of a young girl’s life and death is both moving and deeply insightful. The viewer becomes emotionally awakened by the tragic narrative. For there is no escaping the feeling of missing a cherished one. There appears to be no cure except for time, time is what has made the scar of the family’s loss more bearable. Laia Abril’s interpretation of the concept of memories is identified in her project The Epilogue. The narrative explores the Robinson family’s journey and aftermath of losing their beloved twenty-six year old daughter, Cammy, to bulimia. Laia Abril reconstructed Cammy’s life through the abstraction of memories. She beautifully and scientifically crafted the grief and suffering the family fought, as well as, the raw emotions which surrounded the topic of remembering a loved one. A book absent of clichés, emotionally awakens its audience by the sadness and intensity the story brings to the forefront. The individual becomes invested in each photograph, due to there being some sort of significance shown of the young women’s life. The cover of the piece offers the first simplistic reflection of the nature the narrative. Personal readings, letters and clippings brings Cammy’s life into reality and makes her existence more than a death certificate. Diaries, agenda books and medical records express her desperation she must of felt, proving she once had emotions and felt the way we feel today. Archive images of family members, friends, houses, locations and objects symbolize Cammy’s life history and her importance as well as her mark on the world. In particular images there is a sense of honesty and peacefulness. For Cammy did not live her whole life consumed by the illness, therefore, had childish memories, typically ones which we would expect at a younger age.

Abril photographs several aspects of Cammy and her family’s life, however, I think the most powerfully beautiful images are the ones which really project her innocence, vulnerability and regret. A memorial collage of photos of Cammy, which is in the living room of the Robinson’s house, is alike to a snapshot of Cammy’s life. It exudes life and happiness, although this may have not truly reflected her feelings and illness she faced at the time. It is there for the comfort of her family to know and remind themselves that she once was a content and fortunate child. Abril has included a pop up of an extract from what looks like a newspaper. It could possibly be a memorial or announcement viewable for the public, Abril has designed it to lie next to the collage and create a shadow over it slightly. Although this is a very subtle detail it translates a distinct message; it shows the favorable memories behind the harshness and rawness of her death. Moreover, Abril creates an interactional style which allows an audience to become involved in the memories and life of Cammy, as well as, the curiosity of knowing and desiring to understand more of the invisible. On the opposite page Abril has photographed the hundreds of letters of condolence the Robinson family received. Again this contrasts with the following photograph of the collage, Abril has created a book that is a constant rollercoaster ride of emotion. The archival images used have been chosen specifically to evoke a sense of feeling especially the ones of her as a child. The photographs have history and meaning to them; there is an essence of the past and remembrance reflected through each one. The individual archival images have importance and uniqueness which symbolize the compelling nature of memory. Abril’s work inspired the idea for my collage of archive images I had found and been given to my family members. The majority of photographs in my project are concentrated on the death of my grandfather and his absence, therefore I felt it would be beneficial in order to create a piece which reflected small moments of his extraordinary life in a simple flick of a page.

Similarly, Yury Toroptsov toys with the concept of creatively discovering the invisible. Deleted Scene focuses on a journey in search of a father he never knew was led by an invisible path. With a relentless pursuit Toroptsov traveled to Eastern Siberia in order to tell us a unique and complex story. Toroptsov’s project is parallel with Abril’s interpretation of making the invisible visible. Furthermore, mutually they have intertwined the character and personality of the ‘people’ they are ‘photographing’. The topic Toroptsov is tackling is one many may struggle with in terms of the emotional exposure. Toroptsov has taken a more poetic approach with his style in this particular photo book. Rather than displaying objects and using archival images in an almost scientific way, he has explored the idea of creating his story from metaphorical photographs. The meaning behind the photographs he has chosen are not simplistic nor are they easy interpretations. They are filled with emotion and desire to learn who his father was. The images are ones in which you need to consume yourself in so to speak. However, when it comes to the concept of memory and photographing the invisible Toroptsov has allowed his audience to deduce whatever they will from the photograph. In order to successfully answer the question I have posed, analyzing a single image from Toroptsov’s project Deleted Scene, will support me with grasping a more in depth comprehension of how he has managed to photograph such a complex conception. As I previously mentioned Toroptsov’s work takes on a much more poetic and metaphorical approach, therefore I thought it would be appropriate to analyze a one which symbolized this. The title page of Toroptsov’s project is a simplistic yet inviting opening to the narrative, this is a particular favourite of mine in comparison to other projects I have studied. I think it is very clever how the design of the front cover hides the individual’s face, which is their identity. Furthermore, the colour it has been edited to brings a vintage and classical style to it. Which is further emphasized by the Polaroid type of photograph chosen to be displayed on the initial page.

The third academic to be addressed when concentrating on memories and understanding the medium of photography is Christian Boltanski. Boltanki believes every individual is unique, because of each one comprising the capability to think and remember differently. Implying we consist of all these experiences and memories. ‘What is most important is most fragile.’ Boltanski wants to touch people, even make them weep, in order to stir emotions. The role of art today in Boltanski’s view is to move people, it is to ask people questions about good and evil, about disappearance after death and so on. Although Boltanski has claimed he has no answers for such questions. ‘In my view you can equate the photograph with a dead body, just like an item of used clothing; it has the memory of something, and it is an object where the person behind it has disappeared.’ I think Boltanski’s analysis of memory offers an alternative to traditional views, as well as his thoughts around the medium of photography. He genuinely thinks people should connect with the art work and attempt to have an understanding of it on a higher level. Therefore, when completing my project I focused on the importance of having meaning and intensity behind the image.

Overall, Abril, Toroptsov and Boltanksi all have their own individual techniques and thoughts on how to capture the invisible and convey the concept of memory, through the medium of photography. I have found each photographer to be heavily influential over the development of my photographic project. However, I have found Abril’s project The Epilogue to be particularly striking and relatable. Likewise, Toroptsov’s project, Deleted Scene, proved to be highly effective with regards to the poetic and metaphorical interpretation of the concept of memory. For example, I photographed specific places where I felt memories of my grandfather were the most prevailing. Places such as Queens Valley Reservoir are key remembrances which are where I feel closest to him. As I am personally not religious, the idea of remembering someone or wanting to feel closer to them is not directly linked the church or other religious pathways. Rather, my elucidation of a religion and having the opportunity to remember someone is to surround yourself with a place which reminds you on that individual. Boltanski opened a more intellectual and exclusive attitude to memory. His approach made me think more deeply about the type of photographs I wanted to produce, for example, I created a photograph of a set of photo frames my family have on the window sill.  I have combined both artistic styles of photography to create a photo book which shows the complexity and intricacy of photographing an individual who no longer exists. I wanted to include emblematic images in order to truly express the value, worth and beauty of my grandfather’s life. For the time my grandfather was alive is not the limit to his existence, the memories which are carried on through family members such as my grandmother and mother are what make his memory live on. The archive images, readings and objects which I has used all have some sort of relevance to his life. Their continuing existence enable my grandfather’s invisibility to be visible.

‘I believe in the importance of every single human being, but even the most important ones disappear quite quickly, especially their little memory. What is most important is most fragile.’

Explore the ways in which Rita Puig-Serra Costa, Inaki Domingo and Chris Dorley-Brown use various archival material in their contemporary photo-book to create an alternate family album?

 In my personal study I will be looking at Rita Puig-Serra Costa, Chris Dorley-Brown and Inaki Domingo, and how they use various archival material in their contemporary photo-books to create an alternate family album. Archival material can be defined as: “a complete record of the data in part or all of a system, stored on an infrequently used medium” and an album: “a collection of recordings issued as a single item on record or another medium”. Throughout each artist series, they have managed to manipulate the meaning of family lifestyles by their use of archival research and various ‘mediums’ to date back family commodities that changed the perception of the normal lifestyles we endure in this modern day. This comparison leads a narrative for readers and allows them to understand their story in what I believe is in a more endearing and thought-provoking way.

Rita Puig-Serra Costa is my first artist I am going to investigate as her abundant style to produce contextual stories incorporates old family images to represent a journey and a passage within her family lifetime presenting what seems like an ‘album’. Costa is a German photographer who works in the publishing Terranova in Barcelona. Prior to studying a Humanities degree, and an MA in Comparative Literature, Costa read Graphic Design and Photography at IDEP in the CFD and Observatory[1]. Remarkably, her most recognised book ‘Where Mimosa Bloom’ deals with the grief she suffered following the passing of her mother. Where Mimosa Bloom takes the form of an extended farewell letter; with her photography skillfully used to present a visual eulogy or panegyric[2]. In this tense, Rita’s meaning to use old and new photographs symbolizes the mental suffering she has had after the death of her mother, allowing the reader to understand Rita’s perception of a ‘family album’. This is shown throughout by allowing the viewer to understand the ‘grief memoir’ about the loss of her mother, as it falls in a trilogy: part meditative photo essay, part family biography and part personal message to her mother. These elements combine to form a fascinating and intriguing discourse surrounding the themes of love, loss and sorrow. Rita’s connections with her family reflect a deeply personal insight into the life of herself, her relatives and her beloved mother who it mirrored throughout her photo book by the ongoing use of family archival material. The use of archival material extracts a more harrowing and personal message, allowing the reader to gain sympathy for Costa, done with the relative sources of change her family is going through. Rita’s objectified approach to her composition sparks noticeable in the Blog Photo-Eye[3] Review written by Janelle Lynch in 2015 as her photographs of Ms. Costa Rico’s simple possessions are described as ‘museum’s collectables’ and ‘neutrally documented objects’. These words suppress how Rita has captured a past tense within her work and how as a reader we are encapsulated into the life of what was Rita’s mother’s every day encounters. Using the phrase ‘museum’ symbolises the way Costa documents the work of her mother more like an exhibition then a book. This is further elaborated in the way Rita’s style is fluid throughout her other works and collections, suggesting her precious relationship with her mother and her life illustrated as an antique. This notion is similarly associated in Phases Magazine’s[4] interview of Rita: “‘Where Mimosa Bloom’ traces a walk across the memory…through objects, persons, and moments, which take us directly to her person. That’s homage of Rita to her mother Yolanda…an attempt to assemble in a book her familiar universe”. This interpretation of Rita’s work acts as a metaphor for her story; phrases such as ‘familiar universe’ and ‘walk across the memory’, addresses Costa’s symbolic actions to promote sadness in a uplifting way, celebrating rather than mourning the death of her mother. This idea is continuously juxtaposed as in our contemporary lifestyles it is safe to say how modern-day family life is much different to family cultures decades before. Costa’s relationship with ‘change’ succumbs to the modern day approach to family lifestyles, with recent outbreaks of war affecting families in similar ways to that of Costa. A United Nations report released in December 2012 stated that the conflict had “become overtly sectarian in nature”[5]; sectarian defines as ‘a religious or political sects and the differences between them’, relating the violence in Syria that has caused millions to flee their homes, families to separate and relationships to be torn. As of March 2015, Al-Jazeera estimates 10.9 million Syrians, or almost half the population, have been displaced. 3.8 million have been made refugees[6].  Here, Costa liberates with the concept of nature and purity, to show love within families and relationships acceptingly. Costa’s liberal outlook to seek contextual evidence came aspirational during my recent internship to the Societe Jerseaise Photographic Archive, as I was able to gain key skills of archival extraction and acquiring the ability to recognize the stages that take place in an archival process. These skills where vital in the production of my photo-book and idea development as I was able to coincide the changes recently and in the past, making the final product a more personal and relative topic just like the style of Costa. During my research and investigation, I came across a significant amount of historical images from the early 1900s to the late 60’s, all showing the changes made to my new house, which I moved into in mid December 2015. The history encapsulated within the images dated back to when the sight looked significantly different. Conclusively, Costa’s work has inspired me to incorporate my own archival research and material describing the relationship I have with both houses I’ve lived in and the journey within the two. Creating a family album has been less complex using extracted materials, as I feel the relationship with the viewer and the producer is clearly established, undermining the passages of change and transition I have had with my own family life, and the time before I was born. Costa’s style to promote replications of what time was like when her mother was present relives this sense of apportionment, history and memory concluding the similarity with my project of what the houses where like before and after, showing a clear development both physically and mentally.

Inaki Domingo was born in Madrid in 1978 and is a visual artist. His most reflective work, ‘Ser Sangre’ questions and explores how the family is traditionally represented in family photo albums, replicating images contained in containers of intimate visual memory and how they constantly relive the perception that they always tend to look the same. ‘Ser Sangra’ when translated is ‘be blood’ in Spanish, accrediting these ideas of ‘connection’ and ‘relationships’ within a family lifestyle. This style of Domingo illustrates the translation and barriers of a family and how they transition during long periods of time, and in different destinations. The story that’s set on a family holiday in Majorca, shows the collections of frozen smiles predominate, to the detriment of other moments, much more frequent in any family’s day-to-day activities. “Why do albums never record the moments that evoke sadness, boredom, anger, routine?”[7] said in a statement made by Domingo in Der Greif Magazine . ‘Ser Sangre’ seeks to show, through the pages of a photo book with a chaotic and syncopated rhythm, the natural flow of family life, mixing in all kinds of everyday situations and elements. The book offers the reader an immersion into different moments of the private daily routine of a typical family, rather than an analogical experience to be read in linear fashion. The ongoing perspectives we see from different family members are seen as Domingo has stylized the book with photographs through the eyes of different people, therefore different moods, characters and livelihoods being established throughout. Each member of the family contributed intuitively whatever he or she thought could be of interest to the project, though none of them had any artistic training or special relationship with creative work, allows the artists to stringy connect with individual personalities. Domingo’s association with mediums such as installations, body painting, recipes, archival work, illustration, and actions naturally reflects the daily lives of his family members as well as overall questioning the alternate art of the typical ‘family photo album’. These materials combined with the photographs taken by Domingo partly document the proposals of the rest of the family members and partly constitute his own creative contribution to this collective narrative. My interpretation of Domingo uses the common feature of the body, as the more personal approach to photography was something I greatly considered. Domingo has also inspired me to include various other mediums within the development and planning of my final photo book piece. For instance, in my book I have scanned in various plans for the old and new house, allowing the reader to understand the journey of steps it took before the house got to what it was.

The final artist, whom I am going to be investigating, is Chris Dorley-Brown and his most profound piece ‘The Longest Way Round’. Dorley-Brown trained photography with Red Saunders in the early 1980s and then set up his own practice in east London. He began documenting the area around his loving space and worked in Hackney, undertaking several public commissions and projects[8]. This series covers a visual investigation of the author’s family history; The Longest Way Round is a construct of historical images entwined with new photographs. Uncovering archival material not intended for the family album, Dorley-Brown’s book presents a multi-layered alternative narrative for the course of events that shaped the late 20th century assuring a relatable context for the reader and a sense of transition with the sense of ‘old’ and ‘new’ materials. In The Longest Way Round, Dorley-Brown takes a variety of texts and images including prisoner-of-war records, letters, Polaroid’s and film stills) and recognizes the story in a fairly straightforward way and forms it into a story of his parent’s love. The story which surrounds the love story between Peter and Brenda Dorley-Brown, Chris’s parents, shows the parallel narrative that joins in during the war years when we see the picture that Brenda sent Peter during his time in the POW camp; an image of her lying in a bathing costume in the sand dunes. It’s the full ‘Betty Grable’ and creates a sense of mystery over what exactly went on in her life; we see images from the two marriages, made in the years before she eventually married Peter in 1947, following the journey of love Chris’s parents went through. This journey is established in the Bog PhotoEye[9] Review, as Dorley-Brown’s medium is described as “a very gentle retelling of the story…where the archive images are put back into places that they very easily fit”. The old is mixed with the new to create a scenario where the past is visually connected to the present through images of lakeside restaurants, Warsaw roundabouts and Hackney demolition jobs. This technique can most likely be reason to Dorley-Brown’s inspiration from Philipp Eberling’s Land Without Past, a project combing Eberling’s contemporary landscapes of Germany with pictures from his German wartime album, purposing the contemporary family lifestyles to create a layering effect showing what lies beneath the ‘skin of the present’[10]. These notions proceed to suggest there is neither the deconstruction nor reconceptualization that you find in archival projects and in this instance, Domingo’s work illustrates original meanings are almost lost, nor is there the conscious reworking of key elements in the image through integration with other materials that you find in. Instead Dorley-Brown combines with images of his own: The ‘old’ is mixed with the ‘new’ to create a scenario where the past is visually connected to the present through images.

Dorley-Brown states “I feel that other photographers are covering some territories and approaches with a greater degree of success, so I have moved on, trying to find a language that is more personal” during the an interview with The Great Leap Side Ways[11]. This so to speak ‘language’ articulates the certain sense of communication Dorley-Brown wishes to address to the reader. The various use of media and medium further progresses the further quote: “I was interested in the social change that the images showed. It was evidence, as writer Stewart Home later put it in his essay The Image has cracked“ of a “horrendous crime scene”…so those have become an ongoing document of pairs and triptychs.” Arguably, Dorley-Brown presents an alternate family album by the constant renditions of materials and recourses of archival research. Contextually, the continuous mentions of the war allow the book to seek a timeline and a journey, for the reader to follow and progress. With my own photo-book study, I will hopefully achieve similar attributes regarding the reaction on a reader. I have included archival images like Dorley-Brown to suppress passages time more like an exertive narrative, so that they can distinguish the story with the absence of any words. As an example, I managed to discover a range of post World War ll images of my new house (1930-1940). I learnt from this that the use of these images in my photo book would underline that my new house was seen as an ‘artifact’, due to the extraction of these images coming from a box of photographs handed to the archive by the Bailiff in the 1930s. In the style of Dorley-Brown, my plea to initiate an ‘alternate family album’ came in the relevance of these images by being able to contextualize and relate to the history surrounding my new house.

Conclusively, I believe Costa, Domingo and Dorley-Brown have all created an alternate family album whereby the use of archival resources, material and other mediums have allowed them to tell a narrative with on-going use of contextual references. In an attempt to recreate my own family lifestyle, I wish to proceed in aspiration of the effects of all three of the artists I’ve explored. For myself, the use of archival research is vital towards the progression within a narrative. Archival material gives context, history and a sense of relevance to the reader, as they are able to export back to a time where differences show an idea of change and transgression within people physically and mentally. Overall, all three artists have influenced me by the timelessness of their photographs; I’ve learnt to contrast images by the layout within a series and to demonstrate a connection between images with the absence of words.

 

 

 

 

 

[1] https://www.lensculture.com/rita-puig-serra-costa

[2] https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0ahUKEwj8obvD943LAhUHQhQKHTpYBiwQFgggMAA&url=http%3A%2F%2Feditionsdulic.com%2Fproducts%2Fwhere-mimosa-bloom&usg=AFQjCNHuWCe3wqsQDYcfTpKzCTsLvctPXA&sig2=44DNUMNzqHfBWL7jppnpYw

[3] http://blog.photoeye.com/2015/02/book-review-where-mimosa-bloom.html

[4] http://www.phasesmag.com/rita-puig-serra-costa/where-mimosa-bloom/#s-3

[5] http://www.un.org/apps/news/story.asp?NewsID=43820#.Vs2Kjcdsz-Y

[6] https://en.wikipedia.org/wiki/Syrian_Civil_War

[7] https://www.dergreif-online.de/artist-features/blog/inaki-domingo-interview/

[8] http://www.20thcenturylondon.org.uk/dorley-brown-chris

[9] http://blog.photoeye.com/2015/12/book-review-longest-way-round.html

[10] http://blog.photoeye.com/2015/12/book-review-longest-way-round.html

 

[11] http://www.thegreatleapsideways.com/?ha_exhibit=interview-with-chris-dorley-brown