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I have selected an array of images to use as inspiration for my own photo-sculpture. I like the idea of distorting my original images and focusing on shapes and layers in my sculpture.

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“There is a vast difference between taking a picture and making a photograph,” declared Heinecken, who rejected the idea of photography as a mere recording device. In this work, a series of segmented photographs of a nude female figure are affixed to the sides of nine rotating blocks. Borrowing practices normally used in sculpture or modernist abstraction, Heinecken expanded what we expect of photographs, here insisting on their interactivity, dimensionality, and ability to puzzle.

https://artmuseum.princeton.edu/collections/objects/18932

I chose to look at Fractured Figure Sections because it is a unique and memorable photosculpture. Heinecken’s work tends to feature Multiexposures and inverted colours and this piece is no different, it does however have the added 3D element of there being multiple faces, as well as the fact that these faces can be moved to create the desired image of the viewer. This could tie into ideas of the portrayal of women and beauty standards as the faces of the sections are all based off of one original image of a naked woman. This idea of customisation by the viewer could tie into the male gaze and women being expected to change themselves in order to be seen as appealing by other people.

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Goudal’s work often features images of one environment placed inside a different contrasting one. Jetée features a collection of images of a pier placed inside some kind of run down, industrial looking room. Both places are old and manmade and Goudal made sure to line up the perspectives of the interlope between images to make their combination more seamless, while also leaving the noticeable cracks between the images of the jetée. The water on the floor below the pier image make it look as if water has spilled through, creating another strange connection between the two images. Goudal’s pieces are often about contrast, often between manmade structures and the natural world, which is seen in this piece as well, the warms dark greys of the indoor environment contrast the lighter cooler colours of the outside world.

The final images from my first shoot in the studio using the objects given, I decided to use this shoot as an opportunity to experiment with lighting and colour.

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Over the summer I went back to St Ouen’s and did another shoot following a similar route to the one taken on the field trip previously.

The weather was pretty clear and I was lucky to find some stacks of rocks that people had made between by visits, adding a new on-theme subject matter.

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I tried to be more experimental with my editing, using a mix of monochrome and brightly coloured images, and I like having this much variety in my images. I also tried to vary what I took pictures of, as well as keeping the composition in mind.

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I also made some overlays in photoshop, as well as more reflected images because it is a style I really enjoy using.

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If I had more time, I would of gone back multiple times trying to photograph the environment in different weather conditions, to create some more variety between shoots and give me more images. I also want to look into visiting the other SSI in Jersey, and photographing them, again to create more variety.

Still Life is described as “a painting or drawing of an arrangement of objects, typically including fruit and flowers and objects contrasting with these in texture, such as bowls and glassware“, most popular during the 16-17th centuries in Europe, particularly with Dutch painters, working with oil paints. At the time, many people saw art as a hierarchy, with still life seen as the very bottom, giving it the alternative name Vanitas- meaning vanity/futility in Latin. Despite it’s low place in the eyes of many art critics, vanitas paintings still held a plethora of symbolism and meaning after taking a closer look, many of which tie to themes of life and death.

Still Life became a popular subject for early photographers due to the fact that nothing will move while the camera takes the picture, much easier to work with compared to attempting to photograph a person or animal, adding another layer of control for the photographer to manage.

Here is an example of a Still Life painting from the 17th century, full of various pieces of symbolism. It was made by Pieter Claesz, a Dutch artist, and shows a half eaten feast, the most notable feature being the massive uneaten peacock pie, ornately decorated with the bird’s own feathers, and holding a pink rose in its beak, and underneath it lies an array of spices. Each of these elements show off the host’s wealth, as all of these things would have to be imported from Asia, an incredibly expensive endeavour at the time, made possible through the rampant colonisation and slavery happening due to many European countries. There has been a human presence, due to the crumpled napkin and the mess towards the end of the table, though there is an eerie stillness as it is hard to tell why the host would have left, since there is still plenty of food left on the table, and it is unclear how long it will be left there to waste away.

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I am not very interested in the ones overlayed onto 3D objects.

I then decided to make some joiners manually, inspired by David Hockney.

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Overall I enjoyed this experiment, I just wish that I had taken more images so I had more interesting looking Joiners.

I printed out my images and cut them up so they didn’t have any white borders and were all the same size.

I decided to do a range of experiments on my final images from the field trip.

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I decided to have a range of highly saturated images and black and white images.

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David Hockney is a British painter and photographer known for his ‘joiners’, an experimental style of photomontage that combines an array of images across time, space, and viewpoints.

Time– The time it takes Hockney to take all of the images, the time between the images taken, the time it takes for the images to be developed, the time it takes Hockney to construct the joiner, the time between it being completed and the viewer seeing it, the amount of time the viewer spends looking at it.

Space– Hockney is able to alter the perception of space by changing the angles and sizes of the images, creating a completely different environment.

Viewpoints– By changing the time and space of the images, he also changes viewpoints and perspectives, showing the subject from in various ways within one final image.

A Geopark is defined as “a UNESCO-designated area containing one or more sites of particular geological importance, intended to conserve the geological heritage and promote public awareness of it, typically through tourism“. Jersey is an aspiring Geopark due to it’s large geological range, which differs from the UK and other Channel Islands. This also has a large impact to Jersey’s culture and history, making it a strong contender to become a Geopark.

Jersey has 22 SSI (Sites of Special Interest), all over the island. These places are important because of their cultural and geological significance, and have been protected by the government from development, so they can be viewed by the public and researched by professionals.

These sites include Le Pulec, Le Grand E’tacquerel, Le Petit E’tacqurel, and Le Pinnacle, which we visited on our field trip to St Ouen’s. They provided a range of different subject matter to photograph, from beautiful landscapes to interesting close-ups.

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I really like how my collages from this artist reference came out, I think they look really unique while also being obviously inspired by him. My colours are a lot more saturated and they look different compositionally as Smith’s was taken from above while mine was from the side. Mine was also taken from a lot closer up so has more fine details.

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I like my final result for this one less, it took a lot longer to make than I expected. Mine features a lot less clouds because I was struggling to find clouds in my shoots. I also could not find many images of green netting, as there was not very much actually being used in town, so mine lacks some of the artificially made natural forms.

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I also made a zine containing a selection of my images from this project.

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If I were do this project again, I would want to be more organised with my shoots, as well as potentially going on a third just so I have more material to work from. I would also want to take a longer look at which artists I want to pick, and how I think my pieces in response to them would look.