Image and Text: How the relationship can/will work

One of my favourite projects is by photographer Kaylynn Deveney titled "A Day in The Life of Albert Hastings". I find it such a beatiful body of work where the hand written text creates such a special moment to 'experience' the work. 

Thinking back to my Grandmothers Cabinet of Curiosities work I made at the start of this course has sparked off a new idea of possibly adding text based work to that series to create further easing and I always felt they were lacking something to affirm the narrative.

This idea is following from the work in Die Zeit newspaper where Gerhard Richter took over the days news. You can read more about this here.

 The Day-to-Day Life of Albert Hastings - KayLynn Deveney  -   https://bit.ly/2NpqWHw

The Day-to-Day Life of Albert Hastings - KayLynn Deveneyhttps://bit.ly/2NpqWHw

To place this idea of mixing image and text in a historical context, I did a bit of research into it's origins. Medieval christian manuscripts placed words and image together to create layered meanings. Whilst in the 18th Century, poet William Blake used his own illustrations along with his poems after realising that this marriage of text and image made for stronger meanings in his work. 

Rather than using text within the image, looking at this combination fo text and word sparked a curiosity with how I could use my own memories written in text form along with images to create new narratives. The idea of the caption in a newspaper for example. 

 William Blake Dante running from the Three Beasts 1824–7 © National Gallery of Victoria, Melbourne, Australia

William Blake
Dante running from the Three Beasts 1824–7
© National Gallery of Victoria, Melbourne, Australia

…My weary frame
After short pause recomforted, again
I journey’d on over that lonely steep,
The hinder foot still firmer. Scarce the ascent
Began, when, lo! a panther, nimble, light,  
And cover’d with a speckled skin, appear’d;
Nor, when it saw me, vanish’d; rather strove
To check my onward going; that oft-times,
With purpose to retrace my steps, I turn’d.
The hour was morning’s prime, and on his way  
Aloft the sun ascended with those stars,
That with him rose when Love Divine first moved
Those its fair works: so with joyous hope
All things conspired to fill me, the gay skin
Of that swift animal, the matin dawn,  
And the sweet season. Soon that joy was chased.
And by new dread succeeded, when in view
A lion came, ’gainst me as it appear’d,
With his head held aloft and hunger-mad,
That e’en the air was fear-struck. A she-wolf  
Was at his heels, who in her leanness seem’d
Full of all wants, and many a land hath made
Disconsolate ere now. She with such fear
O’erwhelm’d me, at the sight of her appall’d,
That of the height all hope I lost.

 

 

Bibliography

Mocp.org. (2018). Conversations: Text and Image | Museum of Contemporary Photography. [online] Available at: http://www.mocp.org/exhibitions/2000/4/conversations-text-and-image.php [Accessed 4 Jul. 2018].

Tate. (2018). William Blake's illustrations to Dante's Divine Comedy – Look Closer | Tate. [online] Available at: https://www.tate.org.uk/art/artists/william-blake-39/blake-illustrations-dante [Accessed 4 Jul. 2018].