Rosy Martin - Too Close To Home, 1999

  Screenshot, Rosy Martin ‘Too Close to Home’, 1999, 8 min

Screenshot, Rosy Martin ‘Too Close to Home’, 1999, 8 min

I was very interested in the two very different relationships seen during this video piece. One being the other and daughter relationship, and the other being the patient carer relationship both heard through recorded answer-machine messages.

What really drew me to this work was how I related to both of these relationships with my grandmother. The first being the Grandmother Grandson relationship and the second being the Grandson and patient relationship when she tells me about recent hospital visits and especially when she was really ill last year in hospital, which was actually when this investigation started.

The relationship to childhood shown through this film is also very interesting to me. I instantly recognised the lamp with the little baubles hanging off of it which I remember playing with a sa child at my grandmothers house. A memory I hadn’t recalled for some time until I saw this piece of work. However it was not all happy memories whilst watching. It gave me a feeling of sadness at the same time. Sadness that Martin’s Grandmother was alone, and it made me reflect on how life will be for my Grandparents once one of them passes away. This is something we has a family had a glimpse of when my grandmother was in hospital.

In some ways it has actually conjured up questions of my own in terms of how to tell the story I am trying to tell. Is the work Im making about me?, is it about my grandmother? or is it about something else entirely.

At present it just seems like a need to record.

I have contacted The Family Ties Network to try and gain permission to post the video on my CRJ. Otherwise you can view the full video here.

David Campany in Conversation with Wendy McMurdo and Pauline ...?

I’m interested in the “Hybrid space between photo & video.” - David Campany

Technology has now enabled us to have a stills camera, a cinematic camera, a sound recorder, a mobile editing tool and more all incased in an Iphone. This however is not a new idea. David Campany Introduced us to The Sept camera, manufactured by Debrie, France, 1922. This was a camera capable of all these things in one device and covered all aspects of this Hybrid space mentioned earlier. This multi use device fulfils the “desire for fluid ability to switch between still and cine”(Campany) and has ignited some ideas for my final output of my FMP in terms of how to publish to multiple platforms using variations of the project for different outputs. In the coming weeks I shall be writing a project proposal and these influences and ideas gained form this conversation will be part of my initial proposal.

Notes On: Damian Sutton - Further Delay

 Screenshot from Damien Sutton Lecture at University College Falmouth, 2012

Screenshot from Damien Sutton Lecture at University College Falmouth, 2012

Damian Sutton gave an incredibly eloquent lecture on a basic level about the processes we have almost become so custom to that we don’t even realise it.

The duration of time produced when we make an image, The ‘communicability’ of taking a photograph. The Aura, as in the ritual surrounding objects when we decide to make an image. These are all things that at some point or another I have looked at in the past, however, from this lecture have returned to them but as a whole rather than individual ideas.

The theme that I kept returning to whilst listening was that of duration. How can the duration of time really be represented in this digital age? Personally, to explain this notion of time to an audience who may not have read or written about photography, would be through moving image. A way of showing time through a still image but as a piece of moving image. A still object recorded on a loop so that there is no movement but nevertheless it is still a moving image. This idea of the still moving image brought me back to my last post of using some of my grandmothers archived antiques as these moving stills. You can read my initial ideas in this post here.

You can watch the full lecture by Damien Sutton below.

Final Major Project Starting Point(s)

  Display dome with atmosphere,  circa 1880. Alexander Mourant -

Display dome with atmosphere, circa 1880. Alexander Mourant -

This still life on it’s plinth against the black background has given me ideas surrounding the object, display on the plinth and also my grandmothers objects previously photographed in situ for My Grandmothers Cabinet of Curiosities. These items she has shown, talked about and displayed in [her] Cabinet of Curiosities is going to be the staring point for this Final Major Investigation.

Thinking about the different platforms and surfaces available, I like the idea of recording some ‘sound stories’ to accompany the still images. This int turn feels like it would lend itself to then be more of a moving image piece of work, and the idea of a revolving plinth where there is no beginning or end that there is with a still image or a cine sequence.

There is also the relationship my grandmother has to these objects where she has collected them and also collected the antiques magazines that they appear in with the amount they are worth circled for my mum and I to know where to sell them and for how much after her death - A sort of list of instructions after her death.

 Memory Palace, The White Cube Masons Yard, 2018.

Memory Palace, The White Cube Masons Yard, 2018.

Another starting point I would like to consider working towards is something informed by the ancient classical and Chinese scholars technique, “where the subject mentally places the objects to be remembered along a path through a familiar location, recalling them by retracing the journey.”

From visiting the white cube ‘Memory Palace” exhibition I’m very keen to explore wider themes of memory: Historical, Traces, Collective and sensual. These could all be explored through my living Grandmothers archive.

Module Review

This module has been far tougher than I had expected although very much more rewarding in terms of how I can now position myself and my practise in a wider photographic conversation. 

There are areas I feel very content with and others I feel with more time I would have been able to develop further to where I wanted to be. Whilst on the topic of time, this is the first module where I have felt that it was more of a full time course than part time. The various surfaces and strategies seem to take up more time than activities on other modules and for this I was very disappointed that I wasn't able to complete my physical exhibition due to not having enough time. 

Thinking about where I have got to in the way of critical thinking, my biggest floor is still my inability to retain information that I read. This has been having a big impact on where I can position myself critically and with few hours left with my DA to help with my processing I feel I have struggled a great deal. 

As I mentioned in my Oral Presentation, reading 'in conversations with' has been far more beneficial as has writing up ideas and reflections as if in conversation format. This is a working strategy I shall continue to develop for my FMP and for future research and project work. 


Thinking now about my WIP portfolio. I new I wanted to make a news paper since early in the module although I had never thought of using it as my WIP Portfolio submission. The feeling of only handing in a video has left me in quite an anxious state, as I had planned on submitting the pages form the newspaper design as individual images. On reflection however, the video gives the newspaper a little context, as well as skirting around re photography in the intro scene. I wanted the newspaper to be a numbered edition to give it a little more weight than a newspaper that is read and then discarded, in the hopes that people will send me some feedback using the email address I set up. As far as the content of the newspaper goes, I am pleased with the results, although again due to time constraints I feel that working from a wider edit would have been far more beneficial for me. Experimenting with memories and imagination as a combination has been interesting, but I don't feel I really delved deep enough into either sphere, and that perhaps both ideas suffered in the publication because of that. The newspaper would have been a far stronger piece of work had it sat beside the reward of the physical exhibition which sadly I didn't have time to conduct, not did I complete the workshop. 

The physical exhibition ideas can be read about here, but with a few notes to follow on the public viewer and on feedback of work. With peer feedback it is very hard to know whether it is genuine or whether people are either being polite or not giving you their full thoughts on the work.  Tutor feedback is there to push you forwards but I am always left with more questions than answers which when trying to resolve a piece of work isn't always as helpful as it could be. I have been left now with lots of ways I could have improved the resolution of this module work but also with a relatively large amount of doubt as to the wight of my work and whether I have reached the objectives I wished for. I think for these reasons I would have really benefited from doing toe public exhibition in my home. This would have brought in people who firstly I didn't know and who would make their own genuine assumptions on my project but also that I may have then received some different ideas of feedback or even other ideas of where to take my work next. 

The workshop sadly didn't happen either, which I am less disappointed about at this stage as I hadn't realised the full schedule for it nor actually what it was I wanted to take away from it. I had originally planned a zine making workshop, which for the participants would have been a fun activity in which they would have learnt about shooting, editing and making something and would have had a tangible object to take away form it. I however wouldn't really have learnt much from it other than for the experience of workshopping. Having secured a space for the workshop through Four Corners, an EU funded Photography centre, I didn't want to waste that space on a workshop that wouldn't give me a bigger outcome in my work progression. This is on hold for now and I shall use the space offered to me and the support of Four Corners as part of my final Major Project Idea when I can properly research and think about the workshop and how best to weave it into my practise. 

The main areas I have developed this module are my digital skills. Being nominated as one fo the exhibition designers meant I had to very quickly learn the basics of InDesign which I have found incredibly rewarding and something I now use in my daily photography workflow for work. I now look at text in a different way through he introduction of 'tracking' and 'kerning'.

The other piece of software I have now started to get to grips with is Adobe Premier the moving image editing software. I only really touched the surfaces of what it can do whilst putting together my newspaper video, but with the basics now I want to learn more about how I can use it in my FMP and would like to experiment with the use of sound and moving image together. This could be in the form of interviews or my own 'in conversations' with other practitioners. 

Storyboard for Video Production of my final Newspaper outcome

As it is so late in the day and not long before submission, I have only just received the final printed newspapers as there was a delay at the printers so I thought it would be a good idea to storyboard the video production of my newspaper for submission as my WIP portfolio. 

 Storyboard Page 1

Storyboard Page 1

 Storyboard page 2   

Storyboard page 2


Unfortunately there were a couple of elements of the video I would have like to add but time and video editing skills prevented. However I am really pleased with the resulting video.


Photography and Time: Duration


Through all my thinking on memory, I wanted to start to deconstruct what memory is. I think I am near to understanding in my own terms what it is, and now need to explore how to determine/realise this in a photographic and aesthetic method.  Memory is a fragment of time within a duration of an experience.  

Damien Sutton very clearly and concisely talks about the relationship between time and duration and that of photographic time as well as cinematic time. This book is going to be very influential as I move over to the FMP. 


Sutton, D. (2009). Photography, cinema, memory. Minneapolis: University of Minnesota Press, pp.32-35.

Immemory - Chris Marker

Thinking of our memory as a kind of 'history book', or thinking about our fragments of memory in terms of 'geography'. We map our own paths collecting memorandum along the way. These paths can the be organised through the photographs made, the postcards collected and stored in an archive. 

This idea of memory being related to geography reminds me of the Chinese Tradition 'memory Palace'. Items of memory are placed along a path known well to the person and the path is then travelled along passing past items of recollection. 

This idea of geography, of recollecting the paths once travelled and also the objects of memory are all things I wish to integrate into my practise in the future - perhaps through landscape works or through physical travel to obtain a deeper understanding of what I understand to be my own methodology in memory work. 


Marker, C. (2018). Immemory. [online] Chris Marker. Available at: [Accessed 19 Aug. 2018].


A Graphic Element

I have been a fan and close follower of Wolfgang Tillmans' work both commercial, personal and artwork. He was one of the first photographers I looked at and saw the real relationship between text and image and was a big inspiration form final newspaper design. 

Since working on the Landings exhibition I have found that I am far more confident in working with page design and think that this is something I cam going to continue to work with in future projects. It gives me almost an extra surface to use in my work and I think up to now I have felt quite restrained by what I could produce because I didn't have that knowledge of how to construct images on a page properly. 

Graphics working with photography is of great interest to me as is how Tillmans's created the Betweenbridges anti brexit campaign. 

 23rd June 2016 - Anti Brexit Campaign, Wolfgang Tillmans -

23rd June 2016 - Anti Brexit Campaign, Wolfgang Tillmans -

The Memory of Photography: Photographies - Some notes

Below, Freud compares alike that of natural memory and artificial memory, being the various devices invented by man to aid the natural memory. These ideas drew me to think about how we use memory, how we use the devices we rely on for memory and how I can work with these devices in my practise ie The Archive, Digital Archives and mass consumption of the image. This reminded me also of Eric Kessels installation of images where he printed all the images submitted to Flickr in one day. 

If I distrust my memory – neurotics, as we know, do so to a remarkable extent, but normal people have every reason for doing so as well – I am able to supplement and guarantee its working by making a note in writing. In that case the surface upon which this note is preserved, the pocket-book or sheet of paper, is as it were a materialized portion of my mnemic apparatus, which I otherwise carry about with me invisibly. I have only to bear in mind the place where this “memory” has been deposited and I can then “reproduce” it at any time I like, with the certainty that it will have remained unaltered and so have escaped the possible distortions to which it might have been subjected in my actual memory. (The ‘Mystic Writing-pad 429)



Bate, D. (2018). The Memory of Photography. [online] Available at: [Accessed 10 Jul. 2018].

LANDINGS 2018 Exhibition design:

I was luck enough to be selected as one of the LANDINGS:2018 exhibition designers.

We first met to discuss a course of action and to divide jobs between the three of us. 

I offered to create three varying posters for the exhibition. On a practical level I have now learnt the basics of InDesign which is new to me, as well as how to output files in various formats. These skills will help me to design my newspaper later in this module. 

 LANDINGS:2018 Poster designs - Anthony Prothero

LANDINGS:2018 Poster designs - Anthony Prothero

We also had the task of designing a webpage for the website. To start with we wanted to come up with a colour palette for the design of the exhibition. Andrew showed us this fantastic video of Wes Anderson colour palettes from his films titled "Wes Andersons Color". 

We each watched this a few times and decides on a particular colour palette from one of the scenes. The below was to be the colour theme for LANDINGS:2018. 

 Colour swatch selected for the LANDINGS:2018 exhibition.

Colour swatch selected for the LANDINGS:2018 exhibition.

I have certainly gained valuable experience around the topic of collaboration and working in a design team. From the start of this design/curatorial task we made decisions quickly and efficiently throughout the process. 

I have started to understand the positives and negatives of collaborative practise and when certain collaborations should and shouldn't take place. We all as artists have very different methodologies which sometimes work well in unison and sometimes I feel will clash or prevent each other from fulfilling their potential creative output. 

The Design element I took on as part of the exhibition team has benefited my own practise far more than I would have expected, and has added a graphic and design element to my own practise looking at ways to incorporate and explore the relationship between text and image. 


Looking for inspiration for the video production of my newsprint

A few examples of how people have recorded their publication. 

Otsukas video above is one of my favourites so far. Many videos arelocked off on a tripod from above and then either speeded up or slowed down as someone turns the pages. I too did this for my mock dummy publication earlier in the module. This is a great way to shoe literally what is on the pages of your publication but there isn't any context given or anything tot all the viewer how or in what way the work is supposed to be viewed.  

Ive been trying to think of some other ways to video my work, so far with little success. I like the way there are macro shots of details on the page which is something I am going to try and do my self. I also had the idea of using the end of the video to show me numbering /50 to show the edition and that it is hand written. 

Sentence was a limited edition (1000) newsprint zine created by YouWorkForThem. The zine was concepted and created by means of distant collaboration between the Minneapolis studio and the Bangkok studio. The zine can be read from two different viewpoints. Page through it like a book, or unfold to reveal compositions in full poster-like pages. Text written by: Grant Leuning, Featuring designs by: Eric Carlson, Michael Cina, Emily Darnell, Taechit Jiropaskosol, Thun Puchpen, Travis Stearns, Lee Suetorsak, Michael Paul Young.


HIROSHI OKAMOTO’S ARTIST BOOK “We do not need you, here./ If I could only fly.” PRE-ORDER AVAILABLE NOW. 岡本裕志 写真集「We do not need you, here./ If I could only fly.」オンラインご予約受付開始(104部限定、受注生産)
現在、ギャラリーにて販売中。 一部600円。 Julie Glassberg's newsprint is now available at the Reminders Photography Stronghold gallery. 600 JPY a copy. Video production by Hiroshi Okamoto BGM by Ryo Kamizuru 動画制作:岡本 裕志 背景音楽:上水流 諒
SOLD OUT NOW! This edition of the critically acclaimed Red String includes new, never before seen photographs and is available with two different cover images. All pre-ordered books include: • Signature • Choice of cover picture: Japanese or Western Please note: If you particularly favor the cover image, please place your order before January 31st. • RPS exclusive offer – All orders come with a special complimentary tote bag. The author, Yoshikatsu will sew the photo and title on the bag. There is no photo selection for the bag, only Japanese wedding kimono. Handmade soft cover Weight: 380 gr. Size: 16 x 22,5 cm. / 6.2″ x 8.85″ 96 pages, 90 photographs Edition of 500, Ceiba Printed: Grafiche dell’Artiere, Italy ISBN 978-1-941781-02-9 **The book will officially be launched on March 5th so you’ll get a copy sometime mid March or so. 藤井ヨシカツ写真集RED STRING 売り切れました。

Office hours and Newspaper talk

 Notebook view

Notebook view

Good to catch up with Gary and office hours crew last night. It was mainly focused around my newspaper as I wanted some feedback from both Gary and other peers. Some notes below on discussions/ ideas / and thoughts moving forward...

Newspapers are more common in smaller photography communities where other methods of dissemination are less possible. This conversation started by Gary asking Why a newspaper and what it was that I wanted to get out if it. 

In terms of why a newspaper, I did mention here about my original thought on why a publication of this nature. The main point that came out was that I actually wanted to encourage viewer feedback from the publication rather than it being handed out, read and discarded ( which is what would happen if replacing the Metro newspaper in rush hour as originally planned). This sparked of other viewpoints around ethics of replacing peoples daily news without their permission, getting in trouble for the act in the first place, and also for reasons around the university getting bad press if as a student I were to get in trouble. None of which I had even thought about I have to be honest. 

Permanence: The Metro is printed read and discarded all in the space of 12 hours. They are littered all over the floor of the underground and then swept up and recycled (I would hope). On reflection this isn't what I would want to happen to my publication. After all now knowing that It is feedback that I seek and not just the statement of "Ive infiltrated the Metro News" I realised this isn't the right path to go down. I want it to be an edition of newspaper prints for people to keep or pass on rather than simply discarding. 

A Headline to grab attention of the viewer: We were discussing traits of the newspaper and how they look and for what purpose. My newspaper although having the logo title that seems to match with the newspaper, doesn't have the content or headline associated with he news. This adding more weight to the argument that what I am making although being printed on news print is not in fact a newspaper. A difference I hadn't thought about previously.  

From this a suggestion was put forward that I do in fact need a call for action. Not knowing what the purpose of my paper is nor what I want to achieve from it all points towards the idea that I need to tell the viewer what it is I would like them to do once I have chosen how they shall receive it. 

Dissemination: People don't appreciate being tricked into doing things. With this in mind, perhaps the idea of the Metro altogether is something I need to develop further. Going towards full transparency and approaching people I want to read my newspaper is a much better option. This way a dialogue can be started and I can actually get the feedback I hoped to receive without tricking people into picking up my paper. After all it won't be for everyone I guess. 



Cemre Tutorial Notes 21.08.2018


Speaking to Cemre today about the newspaper has been really helpful indeed. Questioning whether it is a newspaper at all or whether the design lends itself more towards a single poster style or a zine have been really interesting ideas. I think he main thing that I have taken form this however is that I have spent a great deal of time trying out different things in InDesign in terms of layout and not really thinking about whiter they add value tot rework or if it just looks like lots of different ideas all placed together. 

I really liked the idea of the faded images as an analogy of the fading of memories and also the disjointed repeated images with pieces missing, however on reflection I think they are both a little too gimmicky and not really something I want to continue with. For that reason I have simplified the design a great deal and also started to re think how I control the relationship between the images and text. 

Onto the idea of the text, Cemre picked up on something I hadn't noticed with words not being my strong point. The captions of memory alongside the images are all in different tenses which breaks up the flow of the narrative a great deal. I have recently spent a great deal of time with these images and text and it was something I hadn't noticed although I knew there was something not quite right in terms of the narrative. 

Other ideas and conversation came up around the distribution of the newspaper. 

The False Memory Archive

The idea of not only forgotten memory, but that of complete fiction is something that fascinates me. I only recently came across this quite late into the module, and so is something I plan to investigate further moving into my Final Major Project. Creatively reconstructed our sense of what was the past is seemingly quite common, with he work below playing on the example of people remembering they had been lost in a shopping centre when in actual fact it had never happened. A great idea to play on these myths of childhood and agin something I want to explore further. It is almost going one step further than Freud's analogy of the human mind being alike to the writing pad where the memories fade like the wax imprint on the pad. 

 Crudely Erased Adults, 2013 - Collaborator Instructions, detail

Crudely Erased Adults, 2013 - Collaborator Instructions, detail

 Crudely Erased Adults - Installation view at Carrol/Fletcher in London

Crudely Erased Adults - Installation view at Carrol/Fletcher in London

 Crudely Erased Adults - Detail Installation View

Crudely Erased Adults - Detail Installation View