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Grosnez Castle

Grosnez Castle occupied the headland at the extreme north-west of Jersey in Saint Ouen. Nobody really knows why it was built, but it was probably constructed in the 14th century, and was in ruins by 1540 and remains so today.

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This is a reconstruction of what modern day architects believe the building would like by Norman Rybot.

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Using the Société Jersiaise archisle, I was able to locate this picture of a family around what is left of the castle. The building is into a similar state today despite this picture being taken by Francis George de Faye between 1890 and 1920.

Due to the symmetrical arching of the castle and the coastal view behind, the site would be able easy to create my own version of a Luigi Ghirri-esque image. The castle coincides nicely with this development on the environment as this site is very recognizable with fellow islanders.

L’Etacq

The story of L’Etacq is deeply effected by it’s environment. It’s rich nutrient filled cotils and close proximity to the sea has seen fishing and farming heavily in its history. The rocky cliff faces also add to the list of nutrients within the heart of Saint Ouen’s, as it has been subjected to quarrying, coinciding with the topic of man’s impact on land.

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This image derived from the SJ archives shows the rural nature of Saint Ouen’s, dating back to between 1871 – 1873.  Compared to today, L’Etacq has not expanded in quite the same way the rest of the island has due to restrictions from within the States of Jersey. Some properties have been added and some have been renovated but fundamentally, the landscape does not look too different for a 130 year difference.

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A distinctive sign of continuity within L’Etacq is the notorious Fisherman’s Cottage next to Le Pulec Bay. When searching through the archives, I recognized the small jewel within Jersey’s heritage as it still stands tall today. Here is an  image of the cottage against what it looks like today.

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The Fisherman’s cottage at the very north of St Ouen’s Bay is surrounded by the wild in arguably the most rural sector of the island, giving it a direct link to a natural environment which coincides with our objective. The site also demonstrates continuity and resilience against man’s impact but also shows how the people of Jersey understood it is important to keep some traditional sites and prevent too much refurbishment.

Following my short and to be continued trip to the North-West coast of the island between Les Landes and L’Etacq in Saint Ouen’s, I was very pleased to see continuity through the unique aspect of the Fisherman’s Cottage. The recognizable monument still stands strong as it demonstrates a rare source of an old Jersey culture and can be interpreted as a form of an archive as it reveals information upon a different era and society. The original Jersey granite reinforces the mere fact this is a Jersey artifact and unique to the island along with the typical coast line that the building faces.

Personally, this building represents the true Jersey without all the finance buildings and prospects which now dominates the island. Previously, the islanders explored their resourceful nature as fishermans, for instance the one that inhibited a site like this in order to survive. We lived off our own grown crops from the cotils or the cattle, for example the Jersey Cow we are renown for would enable island life. It is reassuring to maintain sites like the Fisherman’s cottage as our town centre is dominated by over-powering modern buildings which dominate the Saint Helier scape. For research into an environmental theme, I believe visits to the more remote regions of the island give a more reflection of our island and who I am following my progression as a human on the island.

Artist Research

Next Tuesday, we are meeting back up with Croatian photographer Tanja Deman to undergo a photographic excursion along the North-West coastline of Jersey. The objective of the trip is to gain some knowledge and tips from an expert upon landscapes, which would benefit us when going into further depth into our environmental module. Our temporary focus for the day is man’s impact upon the land which was set by Deman herself, as she intends to show how our interpretations are different to hers.

Luigi Ghirri

Luigi Ghirri was an Italian artist and photographer who gained a far-reaching reputation as a pioneer and master of contemporary photography, with particular reference to its relationship between fiction and reality.

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I like how Ghirri bases his simple yet effective photography upon symmetry within the natural environment. His emphasis on the sky or the sea provides an idyllic sensation to his photographs whilst also abiding by the laws of photographic linear. The series of photographs is very satisfying for me as the correlation between linear and symmetry give the images a crisp or sharp edge upon alternative images.


Thomas Struth

Thomas Struth is a German photographer who is best known for his Museum Photographs, family portraits and 1970s black and white photographs of the streets of Düsseldorf and New York. Struth’s work upon family provides relevance for the course so I’ll focus upon his family portraits.

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Linking back to Jonny Briggs, Struth based his works upon the facade of the stereotypical family photo, however, Struth’s images consist of a blank-faced rather than the smile. This provides a sense of surrealism which inverts expectations within society.


Richard Misrach

Richard Misrach is an American photographer “firmly identified with the introduction of color to ‘fine’ [art] photography in the 1970s, and with the use of large-format traditional cameras”

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Similarly to Ghirri, Misrach exploits the effectiveness of simple symmetry and linear, however, his photographs portray a more interesting environment in comparison to Ghirri. This artist withholds my favourite series of images, particularly for the environmental case study.

Societe Jersiaise Visit

On the Tuesday 13th of June 2017 I visited the Societe Jeriaise archive presented by Karen Biddlecombe and 2 other photographers: Jonny Briggs and Tanja Damen who both base their work on Dadaism, Surrealism, Fine Art, Documentary and Narrative photography, and archival imagery both cross referencing psychology, psycho-analysis and philosophy too.  Both photographers were very different in terms of the styles, methods and techniques adopted in their work.

I very much enjoyed the day, learning about the purpose and concepts of archives and how we can compare and contrast the idealized images of then and now.  What I particularly found interesting was at what life was like back in the 19th/20th centuries and how it documented a realistic picture of life back then.  Reinforcing this is how the unique preservation methods of these photos are used as they would of in those times giving us a sense of perspective of not just the value but more so the adoption of historical techniques in today’s world.  Back then it seemed that many photographers incorporated a sense of realism in their work, contrasting with many of today’s work which takes a more varied approach. I liked how these images were so well preserved through a variety of methods that are unique to each photograph.

The Archive contains over 80 000 images all from when it started in 1840.  Among these images from the decades it paints a picture of how the photographic interpretation of the island has evolved over the years, and I can put this within a wider context knowing that myself I can compare my work to older generations work.

What particularly struck me was the historical photographic methods used in processing these images.  The first method was known as daguerreotype and most commonly used but was very expensive.  A much cheaper alternative method was albumen from egg whites and was the first commercial method of producing a photograph.  Later in 1854 the carte de visite became a populer use of albumen, rising in popularity in Paris and America.

After Tanja’s talk, she wanted us to explore eye soar buildings that stood out to us in town.  Here we were starting to develop our own relationships with the environment, shooting and presenting it in a way that shows our feelings towards these ugly buildings.

With Jonny, under the idea of emotions on quite an intimate and personnel level, we made sort of adaptions of the same photographs from the occupation that we did using hand techniques.  This included scratches, tears, folds etc.

 

Change of Focus

PPT link that was sent by Mr Cole to you (with extra slide of instructions) Tanja Deman Grosnez Site Visit

Please note that in preparation for Tanja’s workshop on Tuesday 20th June, we would like you to complete the following:

  1. Research Tanja’s work (task 3 on blog) https://hautlieucreative.co.uk/photo17ase/2017/06/07/family-and-environment-tanja-deman-jonny-briggs/
  2. Choose 3-5 photographers from the list of photographers in Archive task (on blog and below): include images, key facts, ideas and approaches
  3. Research on the area we are visiting (key features of geography, landscape, history, local culture and identity)
  4. Use images you have made from Landscape module – as a starting point for your landscape work.

Artist  to look at include:

Robert Adams // David GoldBlatt // Thomas Struth // Super Studio // Luigi Ghirri // Richard Misrach // Werner Herzog // Richard Long // Raymond Meeks // Antonioni // Alain Resnais // Katrin Koenning // Andrei Tarkovsky