A few days ago I sent a copy of my newspaper design to friend and peer Philip Singleton to see what his initial thoughts were on my work as a product and where he thought if fitted theoretically. I find it so interesting different perceptions of the same images - some of Philips thoughts to follow with some further ideas as reply from myself in italics.
PS: Why a newspaper? The medium suggests temporal rather than a zine or book or other? Just asking rationale….
AP: The idea or desire to place this work in the form of a newspaper came initially from artist Gerhard Richter, who for one day was invited tot take over the Die Zeit newspaper replacing the daily chaos with his moments of calm. This images were soon after placed alongside stories in book form. It was these storied which I felt to be a very personal thing to attach to images that were not apart of the initial story. This gave me the idea that perhaps memories did not need to be attached tot heir original image. In the past I have constructed new images relating to past memory through mainly landscape endeavour, where the landscape was the trigger for memoriam. Through this work, I felt it to be something quite different. The images I made were an image of today or yesterday with the stamp of fact through date and time imprint.
As I have only ever made zines and nothing towards a news print before, I wanted to give it a try with my work to see how perceptions of the image change in something as temporal as a newspaper. Thinking about it now, this almost contradicts the projects central idea of memory being something that last for a period of time.
PS: The premise has promise. The intro words trigger a ‘reading’ of the images - you use the word family, so I am assuming I am seeing beyond the singular and personal, so the gathered up cloth is perhaps the end of a party; the one close-up of an actual person is perhaps a relative of yours, or not.
AP: Thats an interesting idea which I don't think I had singled out. The mages are certainly supposed to 'read' by the viewer, but without a predetermined 'answer' to what they mean. They are based around memories from childhood triggered by the everyday diary aesthetic of the present.
PS: The cuts and pastes of images are intriguing.
AP: The cut and paste elements in some of the images are to elude to memories that are not quite recalled as they happened. Memories fade, become distorted and sometimes transform into hat of imagination rather than real memory. Freud's memory analogy of the mystic writing pad where traces of memory last on the wax layer underneath where the child draws on top. With my work I wanted to change this slightly to show how this distortion of memory occurs to create or 're-create' 'imaginations'.
PS: The meter on the wall fades as a triptych - that is perhaps a literal fading for a purpose?
AP: This was an element I had been thinking about using for sometime within my work. The idea came from a photographer I looked t last module and one I have continued to follow his work - Daniel Shea. He is informed by cinema where you see the frame swell as the frame before and the frame beyond. I wanted to show how memory becomes faded in a more literal sense. I was very sceptical about whether to include this image as I felt it was becoming a little 'cheesy' but in the end I decided to include it as this is a fundamental area of my investigation. Perhaps it should sit nearer the start within my edit?
PS: I suppose if it is a newspaper, then captions, however enigmatic would be welcome and more provocative or evocative. Such as ‘aftermath’ or last cigarette or whatever!
AP: There are actually captions for each image by way of a 'memory' or an 'imagination' which was triggered through the daily snapshots I have made. The date and time has actually been constructed through changing it on the back of the camera abhor making the image. This was a time consuming endevour, and not something the viewer will be made aware of - as some mercies are kept private vs the ones made public.
PS: The scale shift (eg page 9) are intriguing and leaves the viewer wondering why the intimate landscape and the distance from the street - one memory more powerful than the other…?
AP: suppose these are all ideas that I want the viewer to make for themselves. Everyone will have a different view of where or why the image was made. Once you see the captions that go with them I think as a viewer you will actually have more questions than answers which is part of the plan for this work. I'm also interested to see the reaction of the viewer to the sequence. Its very interesting that you commented on the scale of the image, as this is something I have had trouble deciding through the edit. The broadsheet newspaper is a large surface area with a great deal of space to 'use' whether with or without images. I think I also want to show space between and around the images - Its just as important in an edit about what to leave out that just what stays integral to the work.