WEEK 9: SUPERVISOR SESSION

I ran out of webspace, therefore I have to mainly show where I'm at via screen share (I added all the images later).

·    presentation (selection of images, sequencing and layout + alternative shots)

·    statement (see below)

·    introduction

·    Speaking Critically assignment (see below)

Soliloquy is a sequence of images that captures ideas of simplicity, connection, intimacy, location and light.

It combines two styles of work that were made in a short period of time, and although there is no pronounced connection between them, they deal with observing and capturing moments. They were designed intuitively, but follow different photographic processes: starting from planned, constructed photographs indoors and spontaneous capturing of place and light outdoors.

Sequencing them and arranging them next to each other creates a mood game. Meaning can be made not only in each individual image but possibly even more so in the space between them.

Taking stock

Working as an art director, I have been writing ideas, concepts and briefings for other photographers for more than a decade. It is a new experience for me to be the one who executes these. But writing briefings in a corporate world (not too intellectual or not too artsy, rather simple and straight forward) and holding presentations as a designer (explain everything, do not assume any kind of prior knowledge) are different from the requirements in the art world (leave space for the viewer to interpret your work but give a hint what it might be based on in your personal biography). I am still learning.

Thinking about the super-narrative, it is sometimes hard to find the right words to define something and easier to say what one is not: I am not reporting about the outside world of these Corona times. I am not a documentary photographer. Instead, I am focusing on the individual, their experience with the lockdown restrictions and their inner thoughts. Up to now, all my projects in the master’s program deal with isolation, loneliness and longing for connection and intimacy.

It is easy to say that this is caused by the current Corona lockdown. The virus is sure to intensify this situation, but that is not the only reason. Living in a foreign country, building up a new network of friends and staying in touch with friends and family via screen would possibly lead to similar pictures anyway.

Accepting my photography as an outlet, putting words to it and finding the right middle ground between privacy and public work are things that I am still learning. Goffman (1959), Calle (1979) and Hibbard (n.d.) are all references that are helpful when exploring this terrain: Goffman by pointing out the act of presenting oneself (or maybe acting) in public, Calle by provoking and possibly going too far and Hibbard by finding a beautiful way of dealing with anonymity in her photographs.

Looking to the second half of the Master Coursework program

My main challenge might be to find a way to intellectually understand and express in words what my intuitive pictures already convey.

Coming back to Evans’ provocative statement from the first page, I do not think my pictures are only »intended to be looked at and enjoyed« (2015, p. 354). But up to this point, I cannot put my finger on their actual and honest purpose. What is the meaning of my body of work and how is it relevant to others? My assumption is, once I found words and an understanding, a whole new field will open up to be explored. And to be played with.

I am curious about the connection of words and pictures and how they are related.

What happens if the words come first and the artwork follows them? Can believable artwork be created in this way? How will it be different? How does the process influence the artwork? I imagine experimenting using other artists’ words and creating my own interpretation of them.

On a further thought, can writing adequately convey the results of photographic investigation? And what happens if the words do not match the picture?

Out of focus one is the right selection.

Even though I’m not fully convinced by the image, it fits the theme of looking through / outside/inside / reflection / shadow etc. I’ll use this image for now and might replace it further down the line. What works well are the added extension of the power lines which again works with the theme (outside of the image onto the page).

Power lines and “butterflies” work better than the car.

Both work. It’s a bit unfortunate to not use the image with the hand as the shadow works well with my overall theme.

>    Nosferatu

Selected one is fine.

“Bum bag” image is so strong and different (reveal image), that it should be on its own. But also not as last image. Rather a simple image to end the series (recalibrate image).

Themes that come clear (that I have now more intentionally worked on):

·    Looking out/in

·    Looking through

·    disruption and confusion (possible emotional relationship)