The Sea, the Sea! At last – a return to the sea!
With the news of the roadmap out of lockdown – and that university students on practical courses can resume their practical studies (and my project for my MA Photography is indeed the sea!) – I packed up my camera bags, some sandwiches and a flask of coffee and headed seawards.
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In today’s era of social media Instagram must be the largest audience for photos and reaching an audience than any other in the history of art works. And yet its proliferation is also its downfall as a means of promoting your work as it is hard to stand out from the crowd and everyone has a camera these days. As Jurgenson notes it is more of a conversation with an audience than a means of exhibiting and the very nature and volume of the work posted on there, means it rapidly disappears down the feed never to be seen again.
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Text has often played an important role in my work, in particular in my Motherhood and Identity: Tattooed Mamas Breaking the Taboos and later in my Motherhood project.
While Barthes refers to the parasitic quality of text in association with images, I think this depends to a degree on context and the type of image.
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I have been increasingly exploring video and audio and incorporating them into my work flow and as a tool for expressing myself. In the last year I’ve made a couple of short mindful-based films exploring specific concepts, linked to my personal identity – namely the sea and my allotment. I’m intending to include some video and audio elements within my project on the sea – potentially voiceover and audio of interview subjects intermingled with video clips and photo imagery.
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Lockdown has forced me to think about me perspective on the sea in a more introspective manner than I’d intended when I started thinking about a project examining the sea and our relationship with it as individuals, but it has thrown up some interesting concepts and musings.
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Whether your interest piqued by the intricate detail of flowers or the vastness of empty skies; the complexities of the human condition or interesting faces; the humour and ridiculousness of life or documenting its darker side, there’s a personal passion project to inspire and spark a creative wandering.
As a London photographic artist and family and business photographer, it’s important to keep the creativity flowing.
For me it all started with doors …
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Lockdown has forced me to think about me perspective on the sea in a more introspective manner than I’d intended when I started this project, but it has thrown up some interesting concepts and musings.
Last month I pondered on the water cycle using the snowfall as a means to contemplate water molecules trapped in snow, as a metaphor for how we found ourselves in lockdown – misplaced, adrift even.
For February’s perspective I’ve thought more about how our memories of the sea are closely associated with our relationship to it. And I’ve looked for clues within the city that remind us of the coast.
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Exploring authorship and collaboration opens a whole can of worms in many respects but has also broadened my understanding of collaboration.
While I find it troublesome that works involving ‘found’ photos such as that of Schmid seem to sidestep questions of consent – both of the original photographer but also the subject – context does also play a part. Pieces made for the art gallery naturally have a more limited audience than those, for example, appropriated, amended, edited, re-purposed or simply recirculated without consent – but does that actually change the moral principle at stake?
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“Every time we look at a photograph, we are aware, however slightly, of the photographer selecting that sight from an infinity of other possible sights. This is true even in the most casual family snapshot. The Photographer’s way of seeing is reflected in his choice of subject …
“…although every image embodies a way of seeing, our perception or appreciation of the image depends also upon our way of seeing…
” …when an image is presented as a work of art, the way people look at it is affected by a whole series of learnt assumptions about art.” (BERGER, 1972: 10-11).
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