The sublime, reality and surrealism to evoke emotion.

After reconsidering what would be most effective for my shoot I decided it  would be effective if I were to decided a more clear narrative and narrow all my ideas into one plausible theme which would successfully be made into the  final  presentation of a book. So after much deliberation I have recognised that the sublime will be my main point of interest. The sublime and how it links to deep emotions of fear and pleasure and how this in turn creates a conceptual narrative. This means When taking my photos I will do so with the intentions of creating conceptual art that does not have a linear narrative to the end, but purposes the same constant idea expressed throughout abstract and surrealism shoots in order to capture and represent the sublime. These conceptual images from a narrative of emotion, because of this i have decided It would be effective for me to do more bodily photoshoot of hands and forms capturing peoples emotions and even doing so capturing the emotions of the sea and such through the power they contain, I do not want to make this project about the emotions that i have as i do not feel this would be worthy of me doing so as I do not have any deep passions of pain. However I do think will still be able to capture a personal emotion through the people choose to take photos of.  The sublime also has a clear connection to that of politics and the overruling theme of political landscapes throughout the deep past and structure of it being formed on the basis of romanticism. romanticism is based of a power and love within a landscape and how people idealised the movement and love that they hold for a section of land.

My first shoots of experimenting with the sublime, will be spoken about more in my next piece but originally will focus on the water and the notion of being trapped and essence of beauty within the water but the threat of death due to the hanging of being submerged in water and not being able to breath.I believe the most important value to these images will be the incorporation of emotional value within them.  Due to my images not having the strongest lineal narrative motion there needs to be a strong contextual factor to each and every image chosen, due of this the emotional side is of great importance. I will capture this my the bodily form, colour and the concentration of what is their surrounding and how this also effects the image to being more sublime. I believe the distorted narrative of the conceptual of emotion allow myself to Pieces together the project and from the reflection of what i wish the audience to feel. As the emotion is not a personal reflection fo what I am feeling I can create  and piece together an expansion of a story throughout all of my work. I really think it is of great importance to start going deeper and taking more challenging and complex imagery and this will really incorporate the sublime itself. I believe a new large interest will be how emotion can and should be evoked through colour and how I can further contextualise my images through this.To do so in a more interesting manner i will take photos within and outside a studio. To further this ideal I believe the sublime does not always need a person within it in order to cause an effective, so more of my images from now on will be without the presence of a model, or just not in the picture itself. Artists I will further look into consist of mack and Torbjorn, hopefully their influence will allow myself to be more creative when coming to my following shoots.