At this point in my project, with about 4 weeks left until hand in, I have to admit, I am still floundering. I think I have mostly my head in working order, but there are a few things that need examining.
- Do I need to focus on landscapes or still life more – Matt suggested that maybe landscapes would work just as well, as long as I was still communicating the things I wanted to through them – see ‘unofficial tutorial’.
- Have I got enough photos? – I think if I make a mix of straight photos for a book, I have enough still life images, but I would like to capture some more landscapes
- Do I want to create an installation, and if so, what needs to go into arranging this?
- I’ve been thinking about the prospect of printing on silk, having a couple of big (ish) prints together for my final presentation, but then that leaves my fabric transfers obsolete, unless I present these in a basket or something, as a literal ‘memory box’?
- Do I need to keep making, experimenting and using different fabrics?
- If I did create a book, would this just be straight prints, with a small artist statement at the beginning? Would it help to start exploring writing this now so I can narrow down what it is I’m trying to communicate?
Lots of things going on, with very little time to make decisions.
- Travel back to memorable places from my childhood – a personal connection to a place, explore the nostalgia of these places. Explore the idea that memories are made and can be ‘remade’ in the same places, the idea that a place is a trigger for memories to manifest.
- I find it fascinating how a group of people can have similar memories of one place, but similarly the same group of people can manifest their memories there for a completely different reason.
- I find this connection to landscapes really fascinating, and find myself more drawn to the nostalgic elements I crave when I am in these places, although they can be more obscure to a viewer, and I think this would then require slightly more of an explanation.
- To explore this further I’d need to look into environmental psychology and place attachment, and find a way into expressing this through my work.
- I think there is a way to express this feeling of sentimentality and nostalgia within the colour palettes and the things I include within the images, without looking to explore the idea of childhood very obviously.
- I am reminded of something that Rob and I talked about when we were also discussing Aaron Schuman’s Slant, talking about the fact that the project can have as little or as much meaning as you wish it to wish, the viewer is the one who decided if they ‘get’ it or not. I think that in a way, this is totally how I want my project presented, with very little initial input into how it should be construed, and what is actually taken away by the viewers. This puts less pressure on creating something that lends itself completely to the viewers mind, instead, letting them do the work into how they take meaning from it. I feel like this allows myself to take a little bit of a step back in terms of worrying about the message, and instead, create a personal project that for me, completely embodies this idea of childhood, nostalgia and a sense of sentimentality for leaving behind these places and things that eventually start to fade from your memory, as you make new ones in new places.
As a way of going forward then, I feel like the main objective is to start pulling together imagery, and going to these places that are so steeped in memory that its obvious in the way that I shoot the imagery and starting to narrow down how I want to present both the still life images and landscapes, if I then do at all (want to mix them I mean).
I think creating a draft of an artist statement, or at least a draft of a something that almost encapsulates my work and message, and then I can start working to this, as I feel my current brief is slightly too vague to be working to in so much depth, or at least with where my project has progressed to.
In terms of my fabric transfers and experiments, I think they do still stand, but I’m not sure 100% how, if I do go forward with printing on bigger pieces of silk, I’m not sure how I would mix the two together, unless I mock-up a bigger gallery piece at home, and have that as my full end-user context, and within the final show just use certain bits that work together in a smaller way? I don’t think the paper transfers necessarily work as well as the fabric ones, as they don’t quite have the same effect, both physically and mentally I find, the idea of the fabric very much close to the very tactile childhood I had, where I often made blanket forts and ‘houses’ with big pieces of muslin and cotton cloths.
Lots to think about, lots to do.