You can view a gallery of images showing the exhibition installation here.
A more succinct response to the project as a whole can be seen in my Critical Review of Practise where there is critical reflection and notes on specific inspirations. This is more of an overview of how I thought it went and what was achieved.
Planning, Installing and executing a photograph exhibition is a much harder task than I had first thought. Firstly having to create the work, print, frame and then hang a show alongside designing a book has been rather difficult. Not having the project finished to then work on designs for both the exhibition and the book delayed some aspects of the process. I initially met with design Studio Honest to talk about the book design. they asked immediately if I could send over the images for them to work on, and it was at this point I realised this was going to be a rather different workflow than we had all been used to. I was juggling the actual photographic investigation as well as the book design and then the website design all at once, and I think the actual project suffered for this reason in some ways.
I have always called this investigation one that is ongoing, but I think there are always going to be natural pauses to theses kind of works, and I’m still not sure I reached the place that I had wanted to in this particular area of the investigation. I would have like to have more sound recordings of conversations, perhaps delving into different areas of my grandmother’s past. An area I think I had wanted to touch on but didn’t was Sarah and her death in 9/11. This might be something that I come back to in another project moving forward.
I think my practise has moved on quite considerably from working on this project. My consideration into other elements of the archive apart from photographs has become an interest to me. I never realised before working on Ipseity that I would be excited about sound recordings and artefacts from archives. This leads me to think that the PHD route I have mentioned in another post might be the correct route for me to gain some museum experience. I also reached a critical point in my actual photograph making. The series of silverware objects (as talked about in my CRoP) were made at a point of wanting to record rather than to make photographs which I feel is two different practises. However, my natural photographic style has always leaned towards hard flash and snapshot style images since reading about the intimate life work in Charlotte Cottons Photography as Contemporary Art book. I think I have now reached comfortable point in my work where I know where I sit aesthetically and can just make work now without worrying about whether its being made in my style or not. I think this worry and constant comparison to other makers through Instagram and the internet in general is really unhealthy as it changes the natural way one developed in themselves, which I think is a problem with the constant stream of images we are subjected to.
Moving back to the exhibition, I think there are some key points that I have learnt from this exercise. Firstly the key to a strong installation is to have a team of people helping you. I had a good friend of mine Rachel help me with my installation and I really couldn’t have done it without her. As I had been working on my book design and the website I think I failed to spend the item necessary to plan the layout thoroughly enough. I had made a model of the exhibitions pace but the foamed I made it on started to warp and so I spent so much tie re gluing it together I gave up in the end. It was whilst it lasted a good tool for showing people my plans at the face to face event in Falmouth.
As this is an ongoing investigation I struggled at times to work out how I was to curate this show. The last minute addition of the cabinet image really helped with he flow of the room. I think without it the show would have been a little ‘flat’. It gavotte viewer an immediate aspect to peer into and then read the description of the show behind. This image I feel to now be one of the strongest in the series, but I don’t think however it fits aesthetically with he remainder father set, so for my hand in it may not be present.