One of the main channels for inviting people to the event is through Eventbrite. A very easy platform to use, which also advertises on their own website which has a huge reach with searchable events by category.
I wanted to put my own stamp on this image to make it part of my existing narrative rather than as a part of my grandparents history. Thinking about the wedding video belonging to my grandparents and the distortion offered by the transfer from Super 8 to VHS I wanted to experiment with adding this distortion as a digital effect. Digital manipulation is something that I am only just exploring as I have been a film photographer up to k=now but feel its time to embark on digital narratives. Below is a version fo this image with he RGB distortion adopted from the wedding video.
This image of Sarah is one that I have had difficulty knowing what to do with and where it fits into he narrative. This is just a little layout of where I see this image working on the wall of the gallery space.
I wanted to have a go at photographic the items from my grandmothers cabinet in a different way. Working with images and then rephotographing those images and using the prints as backgrounds I wanted to create a more exciting look to the items. Now that I have these I think I have come to the decision that the items themselves are whats important and the photography is a tool to record them and to put them into a new narrative. The simpler the image the stronger the narrative in my opinion. These will sit as a test and something I am pleased I did as I learnt some new still life skills but won’t be an area I am going to pursue on the FMP.
This MA process has been a huge personal level of development and so I have found it very important to have a hand in every element of the FMP. To this point I had a crash course in framing so that I could help with the framing of my work at Portico Gallery and Framing Workshop in Sevenoaks. I spent the day there constructing the frames and mounting the work. I chose a frame that was consistent throughout Ipseity as the amalgamation of various different types of images would have given it even more of a miss mash look if the frames had been different. Uniformed look to the images was very important for me. I chose to not have the work mounts ad for it to sit straight in the frames which I think is a more contemporary look, although some images to work well with mounts. It is very project and image specific. Below are a few images taken of the framing process.
Working with Dan at Honest Studio to come up with some ideas for a sleeve for the book to go in. This process of producing a book and sleeve have so many variables to take into consideration. I think that a project like this int he future will need some help form some kind of project manager.
These three options are all contenders, although thinking about the message that is delivered by the map being on the sleeve, I realised that it actually gives the message that the whole project is about Israel. Although an important part of the journey, this isn’t an integral part of the project. For this reason I think going for a Plain sleeve with the title on it is a much nicer option.
Ipseity, which translates to Individual identity in latin, is a collection of images both of personal photographs, as well as reworked material from my grandmother’s original archive dating back to1890. This collection is an amalgamation of my research into memory, postmemory, the family album and ultimately the connections we have to the past that shape who we are today.
Inspired by the ‘arts of memory’, an ancient scholarly technique, I have created a visual record which mentally places objects along a familiar pilgrimage to ‘The Holy Land’, undertaken by my grandparents regularly over three decades.
Memory is a means of linking the past and present, and exploring the inter relationships within my family network. Through dialogues with my grandmother, examining visual material, and re assembling this material in my own narrative, I have experienced aspects of her past. These secondhand fragments can also be interpreted as postmemory, and thus aspects my own past.
This project IPSEITY, forms part of an ongoing investigation into the personal archive belonging to my grandmother. It started two years ago, as a study of my grandmother’s cabinet of memorabilia.
This study prompted further enquiry into the significance of the personal archive in relation to my own identity; this marks the beginning of my own familiar journey.
Installation view - Other Ways of Knowing 2017 Fotofestiwal Lodz
Such incredible work by Alexandra Letheridge, and such an inspiration for the level I would like to get to with my work. The different layers and textures create such an immersive experience even through an instillation shot of her work in an exhibition. I also took inspiration from this show with the idea of printing on materials other than photographic paper and have sourced a vinyl printer to do some test prints for me. The tactility of the print is very important to me but I also like the idea of a stick on option but worry about the recyclability of the plastic vinyl.
I wanted to a dd a little context to the motivation behind some of the 2x2 grid images explored through my Ipseity project. Whilst having one of the many conversations with Sue about some of the images and memories of life when I was a child and certainly before, she mentioned one particular image which I would like to concentrate on now. This was taken by someone at her school who was trying to make it as a photographer so had offered to make head shot style portraits of people as a way of building up his portfolio. Sue had agreed and was very happy with he images. She remembered how nervous he was making the portrait in a make shift studio space, but how happy she was with he end result.
When I collated all the images together so I could start to construct some kind of narrative, this story stuck out in my head about the young man making images for his portfolio. However Sue talked of the occasion as being one similar to sitting for a passport photograph which really interested me. The characteristics of a passport photograph are nothing like those of the image above however, I wanted to recreate this image in the style of the passport, and my first thought was the repetition of the images. The 2x2 or the 1x4 strip of photographs you get when you wait for the machine to churn then out of the side of it once you’ve come out of the curtained room.
Secondly, throughout this process of investigation, I have been interested with the idea of duration and in particular its role within the cinematic image. I think this stated when I required the super 8 video of my grandparents wedding to be digitised and they provided the video as individual still images. There is something quite cinematic looking about this portrait of my grandmother. Perhaps the photographer had been studying the classic Portrait Lighting asserted tot he cinema. With he idea of the cinema in mind, I wanted to look at ways of extending the duration of the image. The duration of both the image itself whilst maintaining its attributes as a still photograph. I could achieve this through repetition, which also then lead me back to the repetition of the passport photograph on the printed strip. I have selected this as one of my final major project exhibition images and have increased the size away from hat of the passport photograph, or that of cine film to a much larger size, where it becomes part of a new narrative I have created.
A key theme in my investigation is the actual act of conversation with my grandmother as a means to conserving memories (develop) In creating the final visual outcome for this project I was influenced by the ancient Chinese ‘arts of memory’ techniques where objects of memory are laced along a familiar path. This approach was adopted in my work through placing family photographs in a visual timeline to new displayed both on the wall and in a printed publication. (Develop)
The Family Archive -
“The record looks to a future time when things will be different” Annette Kuhn
Here Anette Kuhn talkes about the family photograph album and how it is represented in the present. Like Kuhn, I look at how the images are presented, but through other areas of my research and reflection, I make my own mark on them and try to in some ways change the direction of the narrative.
I remember Annette Kuhn talking about the family photograph which perfectly describes, although with my work it was her possession, my reasoning for starting to this investigation: “…On the surface, the family photograph functions primarily as a record..”
“The record looks towards a future time when things will be different, anticipating a need to remember what will soon be past.” (Kuhn 1995, 2002)At this point I was photographing to remember both her possessions ( memeories) as well as the moment.
Marianne Hirsch - Inheriting other peoples memories. In my work this inheritance is through memories of pilgrimage to Israel that I have never been on nor was alive to have experienced. Through images and stories that I have been told these ‘post memories’ are recalled/created.
Time & Duration -
Damien Sutton - Duration of time is an important element of my current practise. Memories from the past are dragged tot he present along a kind of timeline in which the duration of these memories is extended. The single image snapshot of time is extended. Does this mean that it is a moving image?
So I can visualise where my work is going to be in the gallery space I have made a 1/20 scale model of Four Corners to experiment with size and layout of the project in the exhibition space.
I used 5mm foam core board to make it, however after about a week, when I wanted to start planning the actual narrative of the show, all the walls started bend and then because oft same unstuck. Next time I shall have to invest some time in researching better material to use for such models as they are a much better way of planning the exhibition experience for the viewer.
Looking at the layout of the gallery space feels like a pretty daunting task.
This image has always been sat on my grandfathers dresser. I’ve never really asked who this man was or why he had moved from house to house. Father John hooper was a priest who looked after my grandfather when he was at theological college. In some ways like a tutor at university.
I sat and talked to Sue about Father John hooper and recorded the conversation.
I’ve come across another photograph of my great grandfather when he was a child. I was interested to find that it was already printed onto a postcard, something I hadn’t really thought was done with home portrait photographs. This shows that it was probably taken in a professional photographers studio. I wanted to have a look at the history of the picture postcard and came across the last in a series of articles on the Science and Media Museum Blog.
Although picture postcards first appeared in the 1890s, it wasn’t until very early in the 20th century that the format was used for commercial portraiture. - https://bit.ly/2Vw8xN5
I’m starting to wonder what I am supposed to be doing with these images, as what has really been highlighted recently is that this investigation is more about the act of investigating and finding out stories from my family rather than the actual images themselves. I need to think about how I am to inject my own personality into this archived body of work.
I thought I would start getting a bit of email interest up about my project by adding an image from the work in progress project to my email signature. I am in contact with a few commissioning picture editors at the moment so thought it would be good for them to se that I am working on personal projects as well as commissions.
This new work by Thomas Albdorf made me think about how we use, and digest imagery. This folded work looks as if it could have been folded up and put in your pocket. This being the best way to spend time with an image is to have it with you all the time as we do with family photographs in our wallets. A keepsake to have with us all the time.
Whilst thinking about this “portable” image I realised that I don’t have a physical photograph in my wallet anymore, but have a photograph of Olivia my girlfriend and Emily my sister on my screensaver on my phone. Another way that the digital image is becoming more and more intertwined into our daily existence.
I’m interested in thinking about the duration of an image and where the image comes from. This sure enough was a photograph that I have digitised and done some repair work to. However, I wanted to see what it looked like as the individual pixels its made up from. The image on the right hand side is just that. A stripped back to 12x8.5 Pixels squared. A contrast of the new from the old and the analog to the digital.
I thought I would play around with size and grouping these images rather than having them all separate. They have a real closeness whilst in the cabinet at my grandparents and so I want them to continue to have this closeness whilst on the wall of the gallery space.
Thinking about the passion my grandmother has for antiques, and how these things have all been kept so preciously in an antique cabinet. I’m thinking about using some kind of numbering system on all the images as if part of an antique auction. Perhaps using these numbers in a guide for exhibition visitors and perhaps for a list at the back of the book.
Ive been spending some tie with these images recently to see what jumps out at me and what it is that I find so special about my family archive. I remembered the super 8 film stills I took of the television whilst playing ym grandparents super 8 video and in particular I found myself staring at the distortion of the picture, and the RGB distortion. It creates a new images, one that appears to be in a contemporary setting and shows the sign of the digital hand. Its quite amazing that this duration of time captured on super 8 by a close fiend has gone form one state to another and finally ended up being rephotographed again at the end.
I recreated this distortion on the photograph of my great grandfather in a more controlled setting than the distortion from the super 8 video.
This if viewed with a pair of 3D glasses gives the illusion of a more present image. An image from a private archive of someone who is no longer alive made public, larger and more ‘alive’ adds something to the conversation about making my private archive physically public.