Today I’ve been trying out an alternative way of displaying my experiential paper. I felt that by having them in a stack - as I had previously - I was effectively hiding them. When my work gets assessed I don’t want the lecturers to feel that they were presented in that method so as not to be touched. I feel that the tactile quality of the work is an important way of communicating the nature of the process, and an accessible way to engage the viewer with the experiential information contained within the paper. I also feel that each piece deserves to be fully seen rather than just piled up into homogenised batches, made abstract and disconnected from the viewer. How explicit the work is - in the sense of how much I reveal about the work’s concept - is completely up to me. This is something I need to address in the coming weeks.
Ad-libbed a book-binding method for my contextualisation book. A few tweaks and it could be pretty good. Does the job in the meantime though!
Rediscovered Film, 2013
Yesterday I developed some negatives that I’d forgotten about, having no idea what I would find. It turned out that they were photographs I’d taken at Southerndown in May.
Whilst the images aren’t directly tied to my ongoing Brecon Project, they still hint at the core ideas and themes that underline my practice. These images represent experiences, particular viewpoints of moments that had until yesterday been lost, buried beneath the subsequent memories many busy months later.
How do I feel about them? I feel detached in some ways, as if these are somebody else’s moments. Perhaps this is down to the complete lack of engagement with the photographs since their experiential inception. It also makes me fear the effects of time on my recollection. These images were almost entirely lost to me, not the day itself which I do still have memories of, but these individual views. There is an incidental black strip across the top of the negatives caused by a light-leak in the camera, and it seems almost ominous now, as if consuming the information that my mind once stored.
I have just started the mammoth task of scanning all 77 pieces of my handmade paper - front and back - in high resolution. See you in forever!
Re-visiting some images I took whilst in Brecon last June for the simple purpose of sustaining a tangible relationship with my subject matter. To continue making work about the experience - and the memory of the experience - I need to occasionally delve back into the materials and photographs I collected whilst there. The effects of time on my recollection of that week are already apparent. I made this loop on day one of my trip.