ASSIGNMENT 6 SUBMISSION: TRANSITIONS

Nicola South         Student number: 514516

TRANSITIONS

Artist statement

These images are the preliminary sketches for a body of work that I am still developing. I have already spent over a year observing and photographing this landscape of two fallen trees, and yet it has only been the beginning of a journey of understanding, both of my photographic practice and of the nature of the place. It was only at the end of my time on this project that I realised the direction that I should take. The finished work will express my response to transitions within a dynamic landscape.

 

THE IMAGES

Transition #1

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Transition #2

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Transition #3

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Transition #4

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Transition #5

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Transition #6

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Transition #7

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GALLERY PLAN: The series should be presented horizontally and lineally.

REFLECTIVE COMMENTARY

I have photographed this place for over fourteen months yet at the beginning though I thought I knew where I was going, I discovered that I didn’t…it was just the beginning of a journey. I photographed this small space in the woods focusing at first on the space around a couple of large fallen trees; however my attention was soon also drawn to a discarded pallet, which I also recorded changing as it deteriorated. I thought at this point that I would probably present the changing landscape with the pallet running through a series possibly interspersed with other landscape shots.

I grew to really enjoy my time observing and recording the changes I found in this landscape; as time progressed I photographed more intuitively, shooting whatever caught my interest, as well as the pallet.  At the point I had to form this transition series I reviewed my images and found that though I could form a series based on the pallet to show transitions in the landscape there were others that were more effective. I realised then how much my photography had developed over this period: my technique, my eye and my creativity. At this point I was torn between presenting my early intention to represent the evolving landscape through the pallet, or through the changes that I’d captured at the ends of the sawn tree trunks. Ultimately I decided that although I only had a small collection of images of the later, these were what now most interested me and I had enough to begin work with. This shift in my focus is my response to my now sharper observational skills, improved technical skills and in particular to a stronger sense of what I want to share with my photography. The change in my intention now also illustrates a growing oneness with this space and a better understanding of this landscape is evolving over time; my view of landscape is both broader and more intense than it was at the beginning of this course.

The series I am presenting here is a beginning, not a conclusion. These images are precursors, preliminary sketches, which I will now develop into to a body of work to communicate just how dynamic a landscape is.

ASSIGNMENT 6 SUBMISSION: TRANSITIONS

Nicola South         Student number: 514516

REFLECTIONS ON FORMATIVE FEEDBACK

TUTOR REPORT: OCA South 2Land06 19 Dec 19 (1)

This video feedback followed on closely from my feedback for assignment 5. We spent a little time discussing my final sequencing for assignment 5 and my ideas for representing the work in grid presentation.

Actions following the feedback for assignments 6:

  • I have re-sequenced assignment 6. My tutor suggested that I swap transitions #3 and #5. I have learnt now that whilst my sequencing decisions have been made with the knowledge of my intention and the history of the photographing, that when my tutor and viewers look at my work they do not have this inside knowledge and will therefore process a series in a different way to myself.

I took my tutor’s suggestion for the re-sequencing but then played around with many other permutations, but trying to look visually at the progression as she has taught me to. My draft submission was sequenced by interspersing the images of two different log ends sandwiched between longer focal distance location shots of them. However my tutor encouraged me see that this was irrelevant; I have now sequenced the images for my submission as a visual progression in the weathering and vegetation apparent on the log ends.

  • I have also printed the images as my tutor suggested as A5 images on A4 paper; I did this to experiment but I do believe it is more effective. I also recognise that as these are effectively sketch rather than finished quality images, especially Transition 2,  it doesn’t show case them at a size that they are not of the quality for.
  • I also realised when discussing the series with my tutor that I hadn’t put on my blog the research that I’d done on trees and woods whilst shooting assignment 6. Much of this is hard to capture at the end of the period as a lot of it was done in conjunction with research for other landscape assignments, however I have now recorded some of it on my blog, most especially an inspiring Television documentary “Judi Dench: My Passion for trees” (BBC, 2017) and my reading of the book “ The hidden life of trees” (Wohlleben and Billinghurst, 2016), see post: https://nkssite4.wordpress.com/category/learning-log-research-and-reflection/research/a6-research/

References:

BBC (2017) Judi Dench: My passion for Trees Directed by Harvey Lilley. United Kingdom: BBC. At: https://www.youtube.com/watch?v=sKk3KWKSNbY (Accessed 01/03/2019).

Wohlleben, P. and Billinghurst, J. (2016). The hidden life of trees. Vancouver: Greystone books.

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ASSIGNMENT 5 SUBMISSION: RESOLUTION

Nicola South                    Student number: 514516

RESOLUTION

ARTIST STATEMENT

I am intrigued by the many ways that we see and interpret things, this work is an experiment into new way of looking and representation for me personally; a passage through the landscape in a different way. My starting point for the series was the work of 20th century photographers Minor White, Alfred Stieglitz and Walter Chappell; in particular their conviction that photography can be used in a manner beyond that of mechanical reproduction, in an expressive and evocative way.

The series is an interpretation of images as equivalents, where the subject is a function, experience or emotion; not that which is first visible. My intention here is to offer photographs that encourage emotional responses and associations to form. To do this I have minimalised context around the subjects, exposed detail, and softened focus. I chose to work in black and white as this demands subjects and conditions with strong lines, patterns, shadows and contrast that are sympathetic to abstract representations. Black and white as a medium also echoes the feelings that seem to revolve around the theme that underlies this work.

The landscape here is a vehicle reflecting a series of thoughts about a topic that is very much on my mind at the moment. I built each image up by looking closely, slowly, being very still and observant when photographing. I hope that these photographs encourage viewers to really look, concentrate on all parts of them, use their senses, and form their own associations with them –  just as my unconscious led the photographing, let your unconscious walk through them and reflect on how you will.

THE IMAGES

51.9% – 48.1%

1, IMG_8371 ps 1500

Equivalent #1

 

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5. IMG_7896 ps1500

Equivalent #2

 

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6. IMG_8379 ps1500

Equivalent #3

 

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10. IMG_8704 2 hi ps1500

Equivalent #4

 

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7. IMG_8615 ps1500

Equivalent #5

 

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9. IMG_8656 2 hi ps1500

Equivalent #6

 

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12. IMG_8754 ps1500

Equivalent #7

 

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13. IMG_7840 ps1500

Equivalent #8

 

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14. IMG_7834 ps1500

Equivalent #9

 

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GALLERY LAYOUTS:

The above sequence should be presented lineally. The  layout below is an alternative possibility for a gallery presentation in a grid layout:

final sub grid

 

ASSIGNMENT 5 SUBMISSION: RESOLUTION

Nicola South      Student number: 514516

REFLECTIONS ON FORMATIVE FEEDBACK

TUTOR REPORT:OCA South 2Land05 10 Dec 19

This video feedback meeting was an extremely useful feedback session on my draft assignment 5 and we were also able to discuss my draft ideas for assignment 6:

Following the feedback session I made the following action points:

FOR ASSIGNMENT 5:

  • Consider reducing the number of images from 14, then re-sequence.
  • To look at reprinting the submission prints at A 3 size to see how it affects their effectiveness.
  • Add more detail into my learning log and possibly my artist’s statement about the aptness of using black and white as a medium for this concept.
  • The value that my interaction with other students is adding to my work and the way that I’m developing.

By the time of my submission I had also visited an exhibition of the work of Bernd and Hilla Becher (https://nkssite4.wordpress.com/category/learning-log-research-and-reflection/research/a5-research/bernd-and-hilla-becher/) which gave me some further ideas for the presentation of this series.

Follow up actions prior to submission:

  • I reduced the images from 14 to 9. I excluded original equivalents 2, 3, and 8 as they were the only images with unorganic elements. I also excluded original equivalents 4 and 11 because I don’t think that they sit so well in the series visually.
  • Developed a gallery plan/sequence for a horizontal linear presentation of the 14 images.
  • Researched the method and theory behind the work of the Bechers.
  • Developed an alternative grid presentation for the same images, should a gallery not have the space for the lineal presentation.
  • Reprinted to submission prints in A3 size – my first print run at this size. They do look much better scale wise at this size.

NEXT POST: https://nkssite4.wordpress.com/category/learning-log-research-and-reflection/research/a6-research/

 

 

ASSIGNMENT 4 SUBMISSION: CRITICAL REVIEW

Nicola South      Student number: 514516

REFLECTIONS ON FORMATIVE FEEDBACK

TUTOR REPORT:OCA South feedback ass 4 critical review

I enjoyed the video feedback session which led from assignment 4 critical review to my ideas for assignment 5 and my progress on assignment 6.

Reflections on tutor feedback:

  • I was pleased that it was recognised that I’d used a breadth of sources to structure my argument as I did spend a lot of time researching and immersing myself in the subject.
  • I was pleased that I had chosen what I thought might be a challenging subject as by doing this I have learnt and gained confidence about the work of these practitioners.
  • I explored with my tutor whether it was okay, as I had, to conclude that I didn’t completely “get” the work of a renowned photographer; it was good to have it underlined that its okay to have an personal emotional response to art and be honest about my opinion. I was also introduced to the word “slippage” a post-modern term.

Following the feedback session I made the following action points:

  • Check requirements for the submission of essays should it be double spaced?
  • Change one sentence in the essay highlighted by my tutor, which I can see is rather clumsy and lacks clarity.
  • Re reread my essay before my submission.
  • Follow up my interest in Minor White and his contemporaries by researching contemporary photographers that they have influenced.
  • Remember to write in my journal frequently in real time.
  • Continue to have the confidence to express my opinions and carry out my own ideas.

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ASSIGNMENT 3 SUBMISSION: SPACES TO PLACES

Nicola South      Student number: 514516

Reflections on Formative feedback

TUTOR REPORT: Tutor report final 03 05 July 19

The video feedback with my tutor was again very productive as was her suggestion that I set some of the strengths and areas for development myself.

Following the feedback session I made the following action points:

  • Reconsider some of the images in the series, in particular image 6 and 9. And the inclusion of the dropped image 2.
  • Use a visual method to sequence the images.
  • Check the tone across the series in particular image 10 and 11.
  • Remember I can reference back to previous coursework and blog work.
  • Check that I have shared enough about my planning and use of black and white for this assignment
  • Remember to reflect on how my participation in forums and hangouts affect my practice.
  • Read Ian Jeffrey’s Photography: a concise History.
  • Consider visiting the V and A print room.

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PHOTOGRAPHY ASSIGNMENT 3 SUBMISSION: SPACES TO PLACES

Nicola South               Student number:514516

SPACE INTO PLACE

ARTISTS STATEMENT:

As a landscape photographer I observe and interrogate the world. These images are a study of a space that has become a place, my response to the traces of the past mingled with more recent imprints. I seek to expose the significance and sense of the place.

THE PARROG AS PLACE

Parrog place 1.

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Parrog place 2.

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Parrog place 3.

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Parrog place 4.

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Parrog place 5.

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Parrog place 6.

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Parrog place 7.

 

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Parrog place 8.

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Parrog place 9.

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Parrog place 10.

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Parrog place 11.

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Parrog Place 12.

GALLERY PLAN: The series should be presented horizontally and lineally.

THE BRIEF

Within a series of up to 12 photographs, explore a landscape, or a small part of a landscape, which you believe to have some kind of significance. This may be a landscape with which you have a personal relationship, or it may be somewhere that is more widely known. This may be a very specific location, or it may be a more generic type of space.

The objective of this assignment is to engage with the question of how a ‘space’ becomes a ‘place’. Your project should put into practice the idea that a ‘place’ is a constructed, subjective term that, for whatever reason (political, industrial, mythological, environmental), is imposed upon, or becomes associated with, a particular ‘space’.

You’re free to approach this project with whatever strategy you feel is appropriate to your subject matter (Alexander,p113,2013).

THE PARROG AS PLACE

This space has been a significant place for a thousand years and for me only a quarter of my life. When in this place I feel hiraeth, a sense of nostalgia and an inborn sense of yearning, and grieve for it when I am away; it is a space which affects many people in a similar way. Here places have been constructed over time that hold both the imprints of the present and echoes of the past. I hope with this work to achieve what Adams says he expects from an artist, “help in discovering the significance of a place” (Adams, 2009, p16).

This place exemplifies the difference between a space and place. The space, a coastal zone of wave cut platforms, sand bar, dunes and river estuary was formed 17 million years ago and is reshaped by the elements every day. The space is simply a geographical/environmental area where these things are located. Place has been described as having three dimensions: locations for activities, interactions and community where there is a strong sense of “belonging” (Agnew, 2011). I also like Farinelli’s definition of place as “part of the terrestrial surface that is not equivalent to any other, that cannot be exchanged with any other without everything changing” (Farinelli, 2003, 11). This space carries the marks of becoming a place over a long length of time and is unique.

The Parrog is a coastal part of Tredraeth (settlement by the sandy shore) in Pembrokeshire Wales. It developed from a settlement to a seaport; remaining medieval stonewalls, and slipways as well as the drystone quays, lime kilns, life boat house and warehouse are testament to this. No longer a trading port it is a tourist destination on the coastal path with a boat club, camp site, restaurant, car park, bus-shelter and holiday homes.

I chose this place to photograph following my research of photographers such as Raymond Moore who describe consciousness of place as an intense awareness which becomes compelling (remembering Raymond Moore, 2018). When there I feel, as Joel Meyerowitz’s describes, “a dawning awareness that you feel good in this place. Something here makes you attentive, brings you to an awakened state” (The ASX team, 2010) and capitalised on this when photographing.  Initially I shot with no strategy except to really look and sense the place. I found many signs of place shifting over time, as an onion revealing its layers; so as I progressed I sought images that showed both historical and contemporary imprints on the land, combined with the presence of the seashore or walls as a constant feature. I thought of Jem Southam talking about being a witness to the landscape and Mark Ruwedel explaining “land reveals itself as being both an agent of change and the field of human endeavour” (Tate, 2019), though this led me to concerns about differentiating this landscape from documentary work; I was helped by Well’s idea that in Landscape “Unlike photojournalism, there is rarely a sense of decisive moment” (Wells, p343 2015) and they aren’t staged.

I pursued a variety of perspectives, the mundane and detail and when framing was also mindful of Paul Hill stressing the importance of everything in the viewfinder (Hill, 2004). Using a prime lens ensured I moved to find effective angles and relationships, to make unconventional images, but primarily to capture the sense of the place and its spirit. I decided to present this series in black and white, a first for me, because I knew it would emphasise the reality and gritty determination that forms the backbone of both the structure and spirit of the place, as opposed to the conventional picturesque views more usually offered. With this in mind I hunted for texture, contrast, lines and edges that would make effective black and white images.

Intellect only came into play as I edited to form a series which shares both information, historical and contemporary, as well as my response to this place. I hope that my way of seeing and the impressions that I present of the Parrog will say something to enhance viewers understanding of it as a place both now and over time.

References:

Adams, R. (2009). Beauty in photography. New York, NY: Aperture.

Agnew J and D. Livingstone (eds.) Handbook of Geographical Knowledge. London: Sage, 2011.

Alexander, J (2013) Photography 2 Landscape. Open College of the Arts. Barnsley.

Farinelli, F. (2003) Geografia. Un’introduzione ai modelli del mondo. Turin: Einaudi.

Hill, P. (2004). Approaching photography. Lewes, East Sussex, U.K: Photographers’ Institute Press.

Remembering Raymond Moore (2018) At: http://the-golden-fleece.co.uk/wp/remembering-raymond-moore/ (Accessed on 14 May 2019)

Tate (2019) Mark Ruwedel born 1954 | Tate. At: https://www.tate.org.uk/art/artists/mark-ruwedel-13509 (Accessed on 15 May 2019).

The ASX Team (2010) An Interview with Joel Meyerowitz – Creating A Sense of Place. At: https://www.americansuburbx.com/2010/03/interview-interview-with-joel.html (Accessed on 13 May 2019)

Wells, L. (2015). Photography A Critical Introduction. London: Taylor & Francis.

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