Case Study 2 looks at the work of Gideon Mendel, in particular the project Dzanghal produced over a 6 month period from May to October 2016, and his work around flood zones. Continue reading “Case Study 2 (Gideon Mendel)”
This short presentation introduced us to initial ideas for publishing the FMP, and encouraged us to think about this throughout, not waiting until the end of production to decide how it should be shared with the world. Continue reading “Case Study 1 – Dana Lixenberg – Imperial Courts”
I found this text from an exhibition called Catastrophe and the Power of Art held at the Mori Art Museum in Tokyo earlier this year. The exhibition included photography, for example the directly representational works of Naoya Hatakeyama, who photographed after earthquake and tsunami hit Tohoku. “It is as though the artists saw no point in altering perception since the catastrophe itself already provided the mediation between them and the normal state of things, the “real” life before the mess. […] Continue reading ““The passion for utilising and finding meaning in any national or personal trauma or catastrophe is perhaps one of the main driving forces of the human spirit””
Returning to the landscape I find solace in whispering winds, birdsong, water rushing by. An uninterrupted immersion. A shared world. Beauty. Light. Being in the landscape restores my faith in many things. My photographs at this time capture the last moments of sun. There is magic in this time of day for me. Continue reading “Returning to the elements”
“Meditation is a practice which teaches us how to put ourselves aside, and it shows us that when we achieve this that we do not disappear, but we open to a more creative relationship with our minds, our feelings, and the world.” Continue reading “‘Emptiness is not a state but a way’”
M C Escher may not be one’s first thought when considering photographic practice, as he is not known for working with photography and instead falls into the category of graphic artist, but I have always been intrigued by his work.
The idea of repetition, that we are taking photographs, and more and more of them, which are similar to photographs which already exist, has been addressed by artists such as Penelope Umbrico, Kessels Kramer (In Almost Every Picture), John Stezaker, etc. These artists have created projects which bring together photographs which are very similar to one another in approach, making a statement about aspects of photography such as repetition, originality and convention. Continue reading “Penelope Umbrico: “a million other people are doing it as well””