I have spent a great deal of time thinking about where my own practise is going in terms of direction. Seeing such a diverse range of work both in the direction of conceptual art and on the boarders of commercial photography, has in some ways brought me to question where I want to take my practise.
My work "Sarah" from my BA was such a hard project for me to make ever since then I have really struggled to find what it is I am trying to say as nothing really seems to matter as much as that did. In some ways this is why I made the work around my Grandmother and her home. Although the moment I made the work was a very important factor, I had planned to collaborate in some way with her before travelling back to Bath in the first place.
I have realised my fascination is with the past. Not necessarily with memories, imagination, family albums not with any specific aesthetic; although the use of a point and shoot camera and the lab printed photograph has always been attractive to me.
I'm now considering where I am to go in my career post MA Photography programme, and this is having an effect on what I feel I need to do next in terms of practise. This realisation that my fascination is with the past also means I have some direction to go and a starting point. I am still very much interested in the family album and had thought about working on other peoples family albums and incorporating some new portrait work to go alongside their original images and perhaps pieces of memorabilia. I very much like the idea of mixed media work. Not for example mixing paint with photographs but the idea of curating a body of work that both belongs to me as the photographer but also to other collaborators. I need to think how this will work towards the development of my own commercial practise however.
"The idea of photography turning the past into an object”, she says. “So that you can look through it.” - Izabela Radwanska Zhang
This work really intrigues me and in some ways has a very contemporary aesthetic to it. the us elf heavy flash is common amongst current editorial portraiture and still life photographers, but this work has an elegance and deeper context which I find very striking.
I think when I have thought about working with memory and the family album I have straight away thought of the aesthetic of an old found photograph. There is no reason why these notions of memory cannot be transformed into a modern current context. I think this is where my continued research into he family album and the past will join together with my concern into my future career and portfolio development.
British Journal of Photography. (2017). Photography and loss in Veronica Viacava's Palinopsia. [online] Available at: http://www.bjp-online.com/2017/10/veronica-viacava/ [Accessed 8 Oct 2017].