The title for this project is Observe, Seek and Challenge, I have attached bellow the exam paper. In this booklet there are useful tips on how to gain ideas for these themes.

Mind Map

Bellow I have created a mind-map of ideas from the main headings. these included similar words, but also relating words and subject ideas I can focus on.

Observe- The main ides that strike me when hearing observe is everything that surrounds us on a day-to-day life, things that are ordinary, because many people might see them but not observe them. For example when choosing the same route to school everyday after weeks there can still be subjects that become unnoticed. Therefore to me observing means paying attention to one thing thinking about it, analysing it, enjoying it, and having a response to it. Therefore to observe it is much more than just seeing. By observing we discover and fin new things, we become more creative and curious. When it comes to photography the camera lens acts as a lens to observe the worlds through, therefore photographs that respond to this the best are ones where life is being represented, for example moments that are captured by the camera, but also photographs of subjects that represent that the photographer looked for, meaning they discovered them, just like special moments/ special events. To this documentary photography responds to very well as to be able to capture moments through documentary photography, photographers have to constantly observe everything around them in order to focus their camera on a specific moment and subject.

Seek- The first words that come to my mind is to be wanting, to seek for something, this leads me into the category of goals or wishes, to be seeking a specific kind of future, if it is with family, a person, career. To seek is to want something this might be a specific feeling or person or item, place. This is why when it comes to photographic responses to this category, what comes to mind are portrait responses that show people striking to achieve something, to reach a goal. This as well as photographs that show emotions, because I feel that out of all 3 to seek is a very emotional world that could be shown through portrait photographs. There is also another interpretation of that word where more photographic responses showed up once searched for this word, which are of hide and seek, this links well with the idea of observing, and finding, as when kinds play hide and seek, they seek for people, to find them. This can be also interpreted with outcomes that are playful and adventurous, responding to the idea of hide & Seek.

Challenge- To challenge means to go against something, this could be a view or an opinion, it also means to do a task with difficulty, therefore this can be interpreted many ways as photographic responses could go in different directions, some showing challenging tasks that people or animals go through, sometimes willingly or sometimes not. A great example of this is the image Migrant Mother showing the struggles of a single mother in poverty with 3 kids, then some can be seen of animals in a wild doing best to survive. However what cant be discouraged is challenging tasks people willing like to put themselves through games, board games or video games, or stress at work, learning or other personal challenges. I thing the biggest one is one that majority of people can relate to, mental health, nearly every person struggles mentally with a task or just with personal issues. Therefore many photographs can show this, these need to capture human emotion. I think the ones that do that best are once again documentary photographs of protests, where raw human fatigue and distress can be seen, not in one but in a group of people. The other side of “challenge” as a topic could be taken literally onto the technical aspect of the photograph, a photograph which was hard to capture, this because of the subject being photographed being challenging or by the specific way of photographing that is challenging to the photographer, an example of this are Olympic and sport photography, where it’s challenging to capture the perfect moment as the person is in constant motion, therefore ensuring the right setting on a camera is essential, to know how to do that might also be challenging for the photographer. Depending on light, speed, etc.

Mood-Board

Bellow I have collected few of photographs that I believe respond well to the mind map above as well as the description of each word in the title.

After creating the mood-board I could see a certain theme that the photographs all lead to, this to me were of adventurous nature, documenting life, catching key moments and being very discovery and full of life behind them. This means that majority were documentary photographs. From this I will be able to narrow down my focus for the exam.

“Now the lack of diversity in photography and the position of women in our society is once again being considered; over the last 40 years, Nancy Honey has already walked the walk as a retrospective look over her 40-year career shows”

Nancy Honey

MOODBOARD:

Honey’s work is relevant to the exam theme Observe, Seek, and Challenge by ‘observing‘ the feminine stereotypes of woman in society. Honey portrays woman in her photography through the lens of her own experiences, therefore portraying it through the female gaze, trying to send a powerful message to society through empowering woman. She portrays the images of woman, through a female community and lens, trying to establish woman empowerment through her photography. In her project Woman to Woman Honey was ‘seeking‘ answers to her sexuality and desires. Therefore fitting with the exam requirements trying to explore the nature of her sexuality. She presented these images I a trip-tic showcasing portraits and abstract images, including parts of a woman’s body, woman applying makeup, and sexualising woman’s curves and intimate areas.

WHO IS NANCY HONEY?

Nancy Honey is a UK-based American documentary and portrait photographer. In her works she focuses on the lives of women, autobiographical, collaborative and documentary. She has been photographing for more than 40 years and has studied fine art, graphic design and photography in the United States and the United Kingdom. In her 40 years of photographing her images draw on her own experiences such as; motherhood, sexuality, power, and aging. In her photography work she records school girls, elderly, and model to explore the idea, what is it to be a woman, now and in this particular place? She was born in America in 1948, yet she began her career as a young mother in Britain, outside society’s usual centres of power, and inside a male dominated industry. Her project Woman to Woman Honey was driven by curiosity about her own sexuality, which may tie in with the representations of femininity in society and connecting with Judith Butlers Gender performativity theory. Butlers theory states that “gender proves to be performance— that is, constituting the identity it is purported to be.” Honey has also published five phonebooks, staring her most successful projects, for example; Woman to Woman, Entering the Masquerade, and 100 leading ladies.

Honey’s image from the collection ‘Apple of my Eye’ is starred in the 2000’s cover edition of TIME magazine. The front cover of the magazine has cover lines such as ‘why are girls growing up faster’ and ‘puberty’ which suggests this particular magazine is targeted for the adolescent girl, which may need support during these changes. Honey’s work significantly works with the cover lines provided as it shows it is ultimately going to be read by a large mass audience of girls which could be struggling and seek escapism within the form of time magazine. Furthermore Honeys work is ultimately targeted to the female population, or individuals who are struggling with their sexuality which reinforces this idea that many of her existing audience would read the magazine.

IMAGE ANALYSIS:

 

EMOTIONAL RESPONSE:

Looking at this image I can identify Honey’s sense of presenting femininity through stereotypes of sexuality, and how girls are stereotypically known to wear makeup. This idea of using a young girl connects with many of the young audience and creates the sense of a girl community. However, Honey also created the sense of nostalgia through the warm tones in the images, through the golden hour and the orange tone top, which also gives a sense of safe, girlhood society.

VISUAL/TECHNICAL – The information we see:

The lighting in the image is taken during the ‘golden hour’. The golden hour ‘is the period of time just after sunrise or just before sunset when the light is infused with red and gold tones’. The uses of the golden hour lighting brings a sense of warmth and nostalgic tone to the image. The shadow gives a sharp definition to the image highlighting the girls eyes, which is further reinforced with the action of her applying the mascara which leads our eyes through the image. The camera is positioned at eye level to the girl, which suggests this is a documentary genre of photography as the audiences eyes are drawn straight to the girl, giving the sense we are directly watching her and participating. By taking a picture of the girl doing her makeup, gives the sense the photograph is directed to the feminine audience which identify or older generations which would feel as sense of nostalgia. This community gives the sense Honey is trying to portray the idea of a young teenage girl ‘girlhood’.

CONCEPTUAL/CONTEXTUAL – The reasoning behind the image/Surrounding circumstance/information and knowledge

Honey was inspired to explore the project Woman to Woman as she was driven by curiosity to her own sexuality, and the ways it might – and might not be – tie in with the representation of femininity in present society, dominated by men. Honey worked in colour as she believed it displayed raw sexuality, she photographed women of all ages and all different ethnic backgrounds and body type to create a sense of inclusivity. Woman to Woman was published by Hexagon Editions in 1990, and toured the UK and Ireland as a solo show for two years.

BIBLIOGRAPHY:

https://nancyhoney.com/about/#overlay-bio

https://en.wikipedia.org/wiki/Nancy_Honey

Born 1972, Rinko Kawauchi is a Japanese photographer with a unique aesthetic and style as she captures intimate moments, using colours, textures, movement, light, and shapes to differentiate her photographs from others. Inspired by the Shinto religion as well as the works of Irving Penn, Kawauchi’s photographs capture ordinary moments with a profound almost hallucinatory perspective. Her work, particularly her book “Illuminance,” showcases her unique perspective and ability to capture the beauty in the ordinary and evoke a sense of wonder through her photographs.

“I want to capture the small miracles in everyday life that we often overlook.”

– Rinko Kawauchi

This quote reflects Kawauchi’s desire to highlight the beauty and significance of ordinary moments. Through her lens, she brings attention to the subtle details that often go unnoticed, allowing viewers to appreciate the magic in the mundane. People rarely appear in her images, which range in subject from city streets, flowers, and oceans, to a deer lying dead on the side of a road, she focuses her eye on scenes of a more mundane nature. She seems to take pictures from the perspective of a girl who spent too much time gazing out of the window at school, studying bugs on leaves or watching dandelions disperse in the wind.

Similarly, Kawauchi’s fascination with light and shadow is evident in her work. Her photographs often play with natural light and its effects on the subjects, creating a sense of ethereal and dreamlike atmosphere. By manipulating light, she emphasises the emotional and symbolic aspects of her subjects.

The title of Kawauchi’s book, “Illuminance,” suggests her intention to illuminate the hidden aspects of life. Her photographs capture fleeting moments of clarity and revelation, offering glimpses into the deeper meanings behind everyday experiences. Through her images, Kawauchi invites viewers to contemplate the feeling nature of life and the beauty that lies within it.

Here is a video where she explains her love for the “small mysteries of life”:

I walked through a small area in St. Peter’s valley, shooting images of different structures that were more or less abandoned, or have been almost reclaimed by nature. For this shoot, I wanted to focus on Kawauchi’s style of developing bright, low contrast images focusing on the natural forms of the plant life and animals around me.

After putting the images into Adobe Lightroom Classic, I started editing through which photographs I believed honed in on Kawauchi’s style the most.

These are my final six images from this shoot. I had a pretty similar approach to each photograph, and wanted to establish an idea of surrealism from reality through my colour palette.

For this first image, I immediately knew that I wanted to increase the intensity of the colour palette, particularly the yellows, without it becoming too overpowering or dominant.

I started by making adjustments using the tonal curves, increasing the output of the blacks in the point curve, to achieve a more muted, lower contrast in my composition, before adjusting the parametric curve, and increasing the lights to bring some more brightness to the image.

I also experimented with the colour channels, playing with red and blue with these photos to create more drama and make the natural colours of the plants a stronger focal point, which was particularly successful in the shot of the stream coming from the pipe, tinting the foam in the water a pinkish colour.

I then started colour grading, typically using a red or orange for the midtones, a deep blue for the shadows, and a red or green for the highlights, all of which were then adjusted using the blending slider to achieve the desired effect. To establish some contrast using lights and shadows, I used graduated filters where the light sources were present, playing with basic adjustments until I was left with a subtle, but more visually appealing gradient from light to dark across the whole piece. I repeated this by doing the opposite with the darks to contrast this, adding a slight vignette to bring it together.

For this photograph, I experimented with the calibration window to adjust the hues of the blues and greens, which ended up turning the leaves different shades of orange and blue.

Initially drawn into the world of abandoned photography, Matt became hooked on the fascinating back stories behind the locations he visited. Capturing and bringing these stories into peoples homes via his social channels has evolved into a seven year long project called ‘Forgotten Heritage’. Since he began he has photographed many diverse locations like abandoned farmsteads in the arctic circle, vast industrial remnants in northern Europe to crumbling villas and hospitals in Italy. The project has won several international photography awards to date and has been widely published.

Here is a mood board of Matt Emmett’s work. During his 3 year project he found himself trudging through debris, wading in water, spelunking in man-made caverns—all for the sake of creating images that celebrate the unique appeal of abandoned architecture.

The genre of Emmett’s work falls under documentary. He spent 3 years travelling around different countries recording the decaying, abandoned buildings as they have been left. His images inform people about the hidden corners of contemporary life that viewers weren’t aware of and haven’t come across.

This leads to why I chose to study Matt Emmett in relation to my project. Considering the themes ‘Observe, seek and challenge’ I think Emmett’s work comes underneath the theme of ‘Seek’ as he’s attempting to find these places to take photos of them and show to the world.

-For Emmett, traversing dangerous terrain is more than a matter of seeking thrills.

“These places that were once alive with sound and movement are now silent and still, but they are no less mesmerizing,” he says. “Immense and powerful beauty resides in forgotten places.”

Image analysis

I chose this image to analyse because I think it portrays the theme of ‘seek’ in many ways. The perspective in which the photo has been taken from implies Emmet is exploring the unknown, he is about to walk down the long tunnel path ahead seeking what is down there. This image is taken in natural lighting, the brightness of the image is coming from, what I’m guessing is, the sunlight seeping through the cracks of the broken ceiling. The image is saturated, yet decaying at the same time; green moss and plant life is growing over the rubble showing how nature is now taking over the area. This also proves this location has been abandoned as natural life is starting to grow and take over. This image is aesthetically pleasing to viewers, there is a dark vignette around the edges and the centre of the image (towards the end of the path) is very bright and amplified. Emmett has taken this photo carefully and has set up the composition of the image very precisely, edited or not, the midground of this image is also the brightest part of the image and this automatically creates a focal point in the image that’s going to catch a viewers eye. Raising questions such as, where is this? How did it end up like that? why has it been abandoned? Matt Emmett’s work has a mysterious feel to it as he seeks unknown locations . I am heavily inspired by Matt Emmett’s work, considering my chosen theme of the exam project, and I intend to create images of my own based around his work.

Born in the USA Michigan 1953 Casebere was a regular student at Minneapolis University studying arts and design, and graduated in 1976. This lead Casebere to building miniature sculptures in the form of odd structures and hallway types, which he would eventually start to photography in ways which looked almost imaginary and as if it was created by AI. He uses simple materials which you could find at home, and use them to create complex models.

Casebere subjects that he designs are a lot of modernised houses which float on water, but are subject to a dark or naturalist background which to him is a way of representing the worlds environment which to him is a problem at the moment because of humans. So his work like Thomas Demand represents an essence of political and problematic meaning which relates to a lot of people. His inspiration had started from the eastern Mediterranean in Spain with their architecture becoming an interesting starting point for him, with some of their simplified but complex structures standing out, his models grew into extremely familiar dream like subjects. But in an interview with uzomah ugwu and Casebere, he described in his early life the drive or expression to build theses sculptures through his view on the suburban architecture and his father. where he said, “It started with my personal experience of space in the suburbs and the anxiety, and fear, inside my home”, talking about how his father was an introverted man who was unpredictable when he was angry. And Casebere’s way of expressing himself he implies was through creating sculptures, but also the fear of his father/parents being very lenient on him practicing architecture.

I personally like his work because of how he lays out his sculptures and how he photographs them, its as if they work in unison together to create an aesthetic image with some type of familiarity to it. Specifically the consistent use of water in his images and how his lighting reflects against the water, and just creates a sense of confusion and mystery to his images. But also when he photographs the inside of his sculptures he uses a lot of patterns and shapes which with his lighting makes it look nostalgic in a way. His work links a lot to Liminal space because of how some of his sculptures include the inside of “areas” which would include a familiarity to how it looks but also how some of the environment of his work is something you might have seen before. His consistent use in water contextually does link the the environment but without this context creates this docile sensation, as if the subject is out at sea without anything or anyone else, or it presents the feeling of abandonment and destruction because of unknown reasons. I will respond to his work with attempting to create my own type of sculpture which will convey the same feelings as Casebere’s work does. My idea for this will involve a type of “birthday party” type environment which will look empty and messy, and I’ll use different lighting to experiment how the image will look, and attempt to include artificial water or even try physical water to make a more realistic effect.

Who Is Dziga Vertov:

Dziga Vertov, aka Denis Kaufman, was a Russian documentary film and newsreel director. He is best known for his movie, “Man with a Movie Camera”. Which to this day is still referred to as “the eighth-greatest film ever made”. The movie, published in 1929, was directed by Vertov and filmed by his brother, Mikhail Kaufman and also edited by Vertov’s wife, Yelizaveta Svilova. When it was published it was actually heavily criticised as it was deemed to have “form over content” along with other things such as it being too fast-cutting and self-reflexive.

The movie is best known for it’s range of cinematic techniques used, most for the first time ever in cinematic history. These were things like: multiple exposure, fast motion, slow motion, freeze frames, match cuts, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, reversed footage, stop motion animations and self-reflexive visuals.

The movie itself, like Koyaanisqatsi, has no commentary. It is also in black and white and, while it shows lots of people, features only one actual character, the man with the movie camera. The meaning of the movie was to create an absolute and universal cinematographic language completely free of theatrical or literary language. The movie shows shots of places in a city, the buildings and the people, also similar to Koyaanisqatsi, while also cutting back to the audience in the theatre watching from time to time.

Personal Response:

I like the selection of effects the movie has, I can try and replicate them in my own. The things I’d like to try are the giant man, seen above, Dutch angles, unstable exposure, reverse shots, even maybe change the aspect ratio, match cuts and jump cuts. The question however is what movie to use these cinematic techniques in. The choice is still between Storm Ciaran Aftermath and Life in St. Helier. Either however could easily have these edits be applied to.

“I wish I could treat every day as Halloween, and get dressed
up and go out into the world as some eccentric character.”

Cindy Sherman

MOODBOARD:

Sherman’s work is relevant to the exam theme Observe, Seek, and Challenge. Sherman fit’s the theme by ‘observing‘ women’s gender stereotypes. She does this by exploring the idea of Mulvey’s theory ‘The Male Gaze’ which can be defined as ‘that states that cinema narratives and portrayals of women in cinema are constructed in an objectifying and limiting manner to satisfy the psychological desires of men, and more broadly, of patriarchal society’. She produces self portrait images that reinforce dominant ideologies of women; as submissive and the homemaker and how ultimately women are objectified and an accessory to men. Sherman’s main projects show the stereotypical views of women, how they are stereotyped to cleaning, cooking, and be submissive, however Sherman also produced a project which she ‘challenged‘ the dominant beauty standards reinforced by men and their definition in how a woman should look like ‘the perfect girl’. She presented this in a hyper-realistic form. In her project she created distorted faces, of women wearing over the top makeup, therefore challenging the beauty industry by creating these parodic images. Parody imitates the style of a particular creator with deliberate exaggerations for comedic effect. Satire uses humour to comment on the world-at-large, particularly in the context of politics. The politic that Sherman is trying to discuss in her photography is feminism, which the suffragettes fought for voting rights for woman. Sherman reinforces this feministic movement with the contrasting images in a parodic way to explore the unrealistic standards that society sets woman.

WHO IS CINDY SHERMAN?

Cindy Sherman was born in 1954 in Glen Ridge, New Jersey, Cindy Sherman lives and works in New York NY. 

Sherman is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters. In her early work Sherman explored the conventions and stereotypes of how women are portrayed in films and TV, usually in the view of the ‘male gaze’ as many of the films on TV made more profit by sexualising women. Sherman was always interested in experimenting with different identities. As she has explained, “I wish I could treat every day as Halloween, and get dressed up and go out into the world as some eccentric character.” This quote stated by Sherman suggests that she enjoys taking parodic images in order to try and reach the audience that views her work, perhaps she believes the only way to engage with people is through satire humour. These images rely on female characters (and caricatures) such as the jaded seductress, the unhappy housewife, the jilted lover, and the vulnerable naif. Sherman used cinematic conventions to structure these photographs: they recall the film stills used to promote movies, from which the series takes its title.

She further explores the idea of sexual desire and domination, the fashioning of self-identity as mass deception, these are among the unsettling subjects lying behind Sherman’s extensive series of self-portraiture in various guises. Sherman’s work is central in the era of intense consumerism and image proliferation at the close of the 20th century.

Cindy Sherman was on the cover of the gentlewoman magazine for the 2019 spring/summer edition. On the gentlewoman magazine digital page, their intent is to celebrate ‘modern women of style and purpose. Its fabulous biannual magazine offers a fresh and intelligent perspective on fashion that’s focused on personal style – the way women actually look, think and dress. Featuring ambitious journalism and photography of the highest quality, it showcases inspirational women through its distinctive combination of glamour, personality and warmth. These qualities are also at the heart of its website, thegentlewoman.com, a virtual place where real women, real events and real things are enjoyed.’ Sherman being found of the cover of this feminist magazine reinforces her feminist movements, and what she is trying to establish through her own photography work.

IMAGE ANALYSIS:

EMOTIONAL RESPONSE:

Looking at this image, I can identify Sherman’s intent to highlight the issues of woman stereotypes. Due to all the feminist movements and yet still technically living in a patriarchal society, Sherman trying to establish a movement through photography allows many woman to identify will her Untitled Film Stills. A dominant ideology that is still present in todays society is that woman are submissive to men, and they do all the domestic work which is was Sherman shows within this image. By standing in the kitchen in what seems like she cleaning still shows the views of woman in todays society and yet how stereotypes can still be observed and such a dominant factor.

VISUAL/TECHNICAL – The information we see:

The image is presented in black and white. Sherman created this Untitled Film Stills in black and white to try and replicate the 1950’s films and film noir, which are primarily presented in black and white. The lighting in the image seems to be coming from an artificial light, perhaps a lightbulb in the room due to the slight shadow seen on the wall in the background due to Sherman stance. Sherman is looking away from the camera, it may be due to the fact of her displaying the role of a 90’s woman that were seen as nurturing and passive therefore would not have the confidence to look directly into the camera. The camera is positioned slightly at an angle which could be to show some of Sherman’s curves as she is standing slightly to the side with her arm on her stomach, which has the connotations the idea of woman being delicate and in need of male attention. However the angle could also be a counter-type to these dominant ideologies of woman due to the angle slightly pointing upwards which establishes dominance and power, which is a contrast to the dominant stereotypes around woman.

CONCEPTUAL/CONTEXTUAL – The reasoning behind the image/Surrounding circumstance/information and knowledge

Cindy Sherman’s Untitled Film Stills is a suite of seventy black-and-white photographs in which the artist posed in the guises of various generic female film characters, among them, ingénue, working girl, vamp, and lonely housewife. Sherman staged these woman to resemble scenes from 1950s and ’60s Hollywood, film noir, B movies, and European art-house films. By photographing herself she inserts herself into challenging the stereotypical views of woman. However, in her Untitled Film Series these photographs are not classified as self-portraits, as Sherman explained to the New York Times she often didn’t’t see herself in these picture, rather she thought she disappeared while creating the character. Sherman found her signature approach to photographic self-portraiture while still a student, observing, “I don’t know if it was therapeutic, out of boredom, or my own fascination with thinking about make-up in the mid-seventies… I had this desire to transform myself”.

BIBLIOGRAPHY:

https://www.moma.org/artists/5392#:~:text=Cynthia%20Morris%20Sherman%20(born%201954,and%20as%20various%20imagined%20characters.

https://www.theartstory.org/artist/sherman-cindy/#:~:text=Sexual%20desire%20and%20domination%2C%20the,close%20of%20the%2020th%20century.

https://www.thecollector.com/cindy-sherman-self-portraits/

Thomas Demand

Thomas Demand is a German Photographer, who is known for his cardboard and paper models of docile areas, which include things like empty office buildings which have printers and computers like a regular office building, and other strange environments including unique settings. He was born in 1964 Germany and Throughout his education became interested in the practice of sculpture, where he found inspirational images through photographers like Hilla Becher, who’s work involved portraits of specific structures, and even sculptures like Richard Tuttle. As Demand developed his sculptures he consistently started using just paper, and found an interesting concept of environments which are common to what we use as people in society, like the inside of office buildings, and photographing them in a way which present an emptiness of people but a recognition of the environment. The meaning behind his sculptures are mostly political, and show an environment of political and historical instances. What’s interesting about his practice is that after he’s completed a sculpture and photographed it, but then destroying it, showing a disconnection between holding onto things, and represents value in its own way, but also creates a more valued image after he has photographed the environment.

In an interview with Will Wiles, the interviewer describes Demands work as, “his banal and ordinary environments often have sinister connections and meanings”, implying the mystery behind just the visual aspects of his work and how contextually it creates an off putting sensation, as if there is something slightly wrong or familiar but you don’t know exactly what. Demand goes on to say, “It triggers your picture library to spill something out,” which means that his work without knowing the context or meaning is supposed to present almost a sense of nostalgia/familiarity which creates a similar memory or thought to present itself.

What I personally like about Demands work is the concepts behind his work, and how he does sculpture environments just for fun, but rather with a meaning behind it (mostly political and emotional). For example this image above is called the “Corridor (1996)”, and is a representation of Jeffery Dahmer’s apartments. What’s specifically interesting about his design of his sculptures is that whilst it looks like a simple design it crates a sense of fear and eeriness, and is photographed at an angle which conveys the emotion that Demand wants to express in his sculptures and photographs. Furthermore, I like how Demand creates these sculptures just to photograph, and not for it to be a long living sculpture as he destroys it, which I personally think makes the image more distorted and uncanny. His use of depth, lines, and lighting all works together to create the representation of his images meaning.

Thomas Demands work can be related to the concept of “liminal space” because of the sculptures being visually transitional, as if you are the POV of the image walking through a hallway. But also how his work conveys the same sensations as Liminal space photography, which is through disconnection, and disorientation from first sight. I will respond to his work with attempting to create my own type of images that present this aesthetic of messy and empty areas which feel eerie, I will captures environments like docile office buildings and empty hotel hall ways which use the consistency of repetition in shapes and depth, as if it never ends, or there is an entrance to the unknown at the end of the hallway.

Mood board and Mind Map

The Theme Observe, seek, challenge

Observe

An observation is an action or processes of noticing details of something or someone in order to gain information. To be observant is to notice significant details.

Seek

Attempt to find something, the desire to obtain or achieve (something).

Challenge

A call to prove or justify something, to dispute the truth or validity of