In this tutorial we mostly discussed the idea of creating these childhood scenes with sets and lighting, although we mostly covered the idea of physically building them.
Lauren suggested I look at David Levinthal, as some of the wooden toys close-ups reminded her of his use of Depth of Field, as well as conveying a sense of movement within the imagery.
Creating a series of sets with different elements in could be interesting, including a sort of ‘universal gravitas’ that people could relate to.
Artists relating to this include Corinne May Botz with her series of miniature crime scenes – The Nutshell Studies of Unexplained Deaths, 2004.
Her use of framing, scale, colour and DOF is something to really examine if I did go down this path.
Anne Hardy aswell, with a grandiose sets where you’re not entirely sure who’s coming or going, whos been or gone, or whats happened spark interest in me if I were to look into set building.
I think the strong pull on creating these sets come from the still life aspect of shooting my old toys and dolls at the moment,t and trying to find a way to bring more of a narrative to it. I think that working with this still life aspect and also going forward with other ideas is a good plan, as I can dip into both for inspiration, without losing a strand of exploration that I could be using.
I think I perhaps meant more literal scenarios though, with a direct set up of people and props in a scene, using lighting, model casting and prop finding to really pull the scene together. I think this is ambitious for me to do, and frankly quite terrifying as it is so new, and I’m not sure how much I am interested in it 100%. I will conduct further research into it though, as it does also seem like a really fun opportunity.