2009. január 11., vasárnap
London and Paris
In my last entry I wrote about the processes I have been using in Photoshop. I have continued working in this way and the result is that the images are beginning to look more like a set of images than individual pictures. The images are all bright, almost over-saturated, yet the colours themselves are dull. The image which is standing out is the foyer image. I was hesitant to take this image because I have been working outdoors, but it reminded me of Marc Augé’s ‘Non Places’ in which Augé describes the ‘anthropological place’ which are ‘places of identity, of relations and of history’ in contrast to the non-place. The foyer here has experienced no real sense of cultural development or evolution; it is a static, functional space. This speaks of the ‘ambiguity of location’ I have talked about in my images and the idea of the ‘presence of absence’, that what is quite apparently missing in this image is any sense of identity. In contrast to this, my box image is firmly rooted somewhere in Britain by the paving stones and road markings. This is a shame as I think the box and the woman walking out of the frame gives the image a good amount of narrative element; it is just enough information to suggest there is a narrative, but it is not loaded and as such there is a good amount of space for personal interpretation. This narrative aspect is undermined by the location as it is one more piece of information to process and on creating a reading we are to assume every paradigm is relevant and meaningful.
I had similar problems taking photographs in Paris because it has such a unique and recognisable identity. The images here have a voyeuristic feel which is providing the narrative element while the rectangular shapes in the images are in proportion to the frame, giving a sense of harmony and technicality, which is important in such minimal images. The windows image however is not quite perfect due to the angle I was forced to take the photo from.
In the appraisal for my poetry work this semester I wrote about my photography work and the effect it had on the aesthetic of my poems. Similarly I would like to mention here the effect my poetry work has had on the volume of my photography. I described my poetry this semester as ‘deliberately quiet’ as a means of giving a reader the silence in which he can engage with the work and create a personal reading. I likened this to Charles Simic’s 1979 collection Dismantling the Silence in which ‘Many of Simic’s poems create a silent atmosphere immediately and it is in this silence that the speaker, and in turn the reader has the space to ‘dismantle’ what he is presented with, to re-assess the world in front of him.’ I think the same logic can be applied to my images and perhaps in the coming weeks as I begin to experiment with the presentation of my images I could incorporate sound into my work.