Project Specification:

I am going to be creating a Leporello in the style of Lina Hashian and Ed Templeton, to show the dual sides of love from a contemporary and not contemporary perspective. This will include other material such as photographs from my family archive, as well as images I have kept of my friends over tine. I feel this aspect can help level out the narratives presented on this leporello and can depict certain  stories that people can relate to or empathise with.

Specification statement and algorithm:

to use Appropriation as a source of manifesting profiles of people usually perceived and associated on Social Media against those considered ‘normal‘ ways of courting love.

Final Images for my Photo-book (Traditional)

These are my final images for the traditional side of my Leporello:

Mum and Dad

The first series I have selected are my family archival photographs. I felt using these was a really important aspect as my project as a reader can follow the journey of their relationship just by giving them a selection of photographs. The first two images inspired me as I felt this could be a good comparison towards the works of KesslesKrammer’s “USEFUL PHOTOGRAPHY 010“. Krammer’s ongoing use of typology has inspired me as repetition is an ongoing theme. With this in mind this is why I have included two images of the wedding cake of my mum and just by itself as I think during a wedding, the cake is one of the most notorious features in a traditional marriage.

The image of my parents above I thought was important as it makes it clear what the celebration is really about. However, I think this image also poses an important argument that even though finding love is alternative in contemporary society, the celebration of your wedding has pretty much always stayed the same.

In the style of Ed Templeton, I have included material such as this envelope to make the reader get a more personal response to this project. This letter was written to my mother when she was very young, and indicates the time and the place of production  and destination. I felt this was an important feature in order for the reader to feel a sense of background within my family, therefore empathising with the images more easily.

This image which I have captured is a contemporary representation of how my parents are still in a very happy relationship. I want the reader to understand my parents relationship like a story and how it unfolds over time. This is why I have captured an image so recently in order for this narrative to progress.

Nanny and Pops

For my investigation on my grandparents, I have used various recourses in the style of Ed Templeton, in order for the reader to get a better sense of context, and how important it is and has been influenced upon my grandparents.

 

In conjunction with the images I had used before of my mum and dad, I felt using this photograph alongside the others was important as it can be used as a follow on to KesslesKrammer’s “USEFUL PHOTOGRAPHY 010“. This way, the reader can almost see my leporello as a small typology, as I will fit the images in a grid like form in order to replicate the works of Krammer and how significant it can be.

Including images of my grandparent’s wedding day is also a good way of showing parallels between my parents, as this tradition is shown to have been ‘passed‘ on through generations. Below is also an example of a contemporary photograph of my Nanny as well as my Pops, in order to show how they are very much together. Even though I have captured them in two different frames, I feel like the narrative has flowed by incorporating previously the archival material that I’ve extracted.

Below shows how I have incorporated images that I have screen-shotted from google maps, in order for the reader to locate and trace back memories just by single images. Alike what I did with my parents, the uses of letters and other sources of material transgress the boundaries of how events over time have seriously effected the relationship of my grandparents, in this case however, for the better. With the deportation of my Grandfather to Bad Wurzach, and my Grandmother remaining in Jersey, this liberation post war shows how their relationship can be too, using these sources of material as a metaphor for how love is ‘united’. This can also be empathised with the works of Templeton, as I’ve used various mediums in order to narrative this passage of time.

Paula

My final reference which I have used for the ‘Traditional‘ side of love is my family friend, Paula.  I though it would be nice to get an alternative outlook on relationships that I am not aware of as much, like my grandparents and my parents. Because of Paula’s Portuguese   heritage, this dis-farmilularality made me interested into how her relationship with her husband, Joseph, may differ to ours. This in itself, can create a dual between the differentiation of languages and culture, as well as comparing contemporary with the non.

My archival research for Paula was me extracting an image of Paula and Joseph, taken about twenty years ago. This vague and delicate aspect can drive the reader to interpret it for themselves, almost in the style of Lina Hashian.

Final Non-Traditonal Pictures

For my final images for the Non-Traditional side of love, for all the images I have included my edit of the ‘Tinder‘ frame. I felt this was  a good way to get a modern perspective on how Love in influenced by social media, and in particularly mobile apps and website like Tinder which promote the act of Online Dating.

William

I have included these portraits of William also, in order for the reader to get a closer, more in-depth insight of his interests and hobbies. These images promote a more realistic side to his character, juxtaposing with the Tinder frame and comparing with the Traditional side of love.

Holly

I have also included this image (pictured above) to show Holly’s natural setting. I feel this image contributes importantly to the images flow and journey as the reader gets a closer insight into how Holly is as a person, and how her personality can therefore be interpreted. Below shows a set of images that I have extracted from my own archive. Taken at Reading Festival in 2015, I thought these images juxtapose with the ones previous. This continuously follows the theme of duality, and how this can be metaphorically symbolised throughout my project.

Alex

Above are some of the images which I have extracted from my own personal Archive. Taken also at Reading Festival 2015, I wanted to show how Alex’s personality is well rounded. Depicted as someone who is quite timid and shy, to someone who is fun can show that on Tinder profiles, depictions are most usually false.

Myself

Will

Including aspects of Will like his shoes can give response to Ed Templeton, as he has influenced me to show a different side to a character by objectifying certain things.

Freddie

These images above which I have taken recently I feel represents Freddie’s character further, as it shows his interests in a clearer light. The photographs of his music equipment and the images of him smoking, shows to the reader a more realistic approach to just one single image. This is because Freddie’s picture in the Tinder frame presents him as quite a smart and well-ordered person. So I feel like I’m questioning the truth of Freddie by showing him realistically through photographs.

These images above show my use of archival material. I have references images I feel reflect Freddie’s personality, yet as well including images that me and Freddie are featured. This makes my project more personal to me with the hope people will then empathise with it.

Emma