An interest in exploring my photographic experience has led me to discover various artists working with intangible concepts through the use of light, colour, shadow and darkness, and as this post explores, the intentional introduction of mist into a space.
Previous to this week, I was not very familiar with Laura Hynd’s work, but when I visited her website today in advance of this talk, I knew that I must attend it. Here are my notes from the talk, and connections I have made between Laura Hynd’s work and my own. Continue reading
One resource this week was an interview with fashion photographer Miles Aldridge recorded at Photo London 2016. Interviewed by Francis Hodgson, Aldridge talks of there being no dividing line between his personal and his commercial work; his commercial work is his personal work. Continue reading
This book is divided very boldly into sections, as seems to be a theme with books on Surrealism (it seems somehow apt that writers on surrealism must attempt to pin it down each in their own unique way). There are two main sections WORKS and DOCUMENTS, Continue reading
A trained painter, Emi Anrakuji suffered a serious illness and learned photography whilst confined to her bed. Her eyesight was limited by the development of a tumour in her brain, and the photography she produces often has a dreamlike blur, depicting her own body, often exposed, partially revealed.
Following her illness, she placed herself in various locations, exploring her emotions during, and following, recovery. Continue reading
Notes following Guest Lecture with Curator and Writer, Susan Bright – 3rd October
Susan Bright’s lecture on her career as a Curator and Writer was insightful of the processes behind just some of her photography exhibitions and books. She refers to herself as a Curator rather than a Writer and sees writing as a necessary addition to the production of exhibitions, explaining that even though the two careers are often spoken of in the same breath there is a difference in that “books go out into the world whereas exhibitions stop”. Continue reading
Francesca Woodman’s photographs are often noted for her consistently recognisable approach; often they are black and white, square images; depictions of herself as blurred in motion; her own body flexed, replicated or merging into her environment. Consistency is perhaps not a word one might associate with a woman who reached a point in her young life beyond which she could not continue. Her story moves me. Continue reading