Charles Williams describes how the "Interpretation of family structures, relationships and self is possible through viewing family photographs". So far in my investigation through this module, I have looked at the family album, the photographs that are in those albums, as well as why I'm interested in the family album yet why I have not made my own photographs of my family. This for any photographer would seem to be a logical step for someone who carries such interest. It hasn't been until recently that a few things have fallen into place whilst investigating what you might want to call my own identity. As Williams continued to say "Interpretation of family structures, relationships and self is possible through viewing family photographs."
The structure of my family is somewhat complicated. I grew up living with my grandparents, both my Mum and Dad are remarried, and with children themselves. Being the adult child now means I sit in between these two family circles overlapping each one like some kind of venn diagram, with my grandparents.
Whilst discussing with Cemre, my tutor why I hadn't really got many photographs of my family, It came to light that this was because of where I felt I sat in the family tree. I'm not really in either of the families, although very much loved by both.
Therefor, this family album I have created is without the photographs that relate tot hat album. There are pieces of text relating to stories or experiences I had as a child, and there are photographs I have taken in the present that for me relate to those moments through memories. These memories as Freud describes through the analogy of the mystic writing pad, have faded, and some may not be true at all, yet they are my identity, and what has shaped into the person I am today.
Taking influence from Taryn Simons 'do it yourself' book where the images are separate form the narrative, and the viewer must assign images to text, I would like this to be part of how my work is viewed. In the context of the gallery, this can easily be achieved by having the text free to move between photographs creating a different narrative and assigning a certain level of authorship tot he viewer.
In the context of a publication this however I feel becomes a little harder. Whilst trying to stay original (which is becoming evermore diffecult) the publication or dummy book will be flipped the other way around from the exhibition space, so that the text is fixed and the images shall move - An interesting shift in relationship between the image and text.