The 'portable' image.

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.

Stripping the image back to its bare pixels

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.

WIP: Great Great Grandfather on the Philips side.

WIP: Great Great Grandfather on the Philips side.

WIP: Great Great Grandfather on the Philips side stripped back to its bare 12x8.5 pixels squared.

WIP: Great Great Grandfather on the Philips side stripped back to its bare 12x8.5 pixels squared.

Items 1 and 2_2.jpg

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.

Project Development: 1


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.

Martin Creed

Martin Creed, Screenshot from Hauser & Wirth -

Martin Creed, Screenshot from Hauser & Wirth -

After seeing Martin Creed being interviewed wearing lots of hats and glasses at the turner prize announcement ceremony I really wanted to have a look at some of his work and to see what it is that makes him tick.

This is a really interesting video about an upcoming show where he talks very frankly about the things that inform his practise and what it is he is trying to create. Well worth a watch at the link below the image.

I think what I am most interested about is the way he talks about his work. Its something I don’t do very well and can never really articulate what it is I am trying to do or make with my investigative practise. Thinking about the exhibition Im doing in April as part of my FMP I was thinking whether I should talk at the private view about the project. That led me to anxiety about what and how I would explain my work.

Project Title?


Whilst reading ‘The Little Prince’ I stopped to look up a word on my phone. In the list of the thesaurus was the word ‘Ipseity’ loosly meaning Identity. Looking at this word I realised that this work I am making and investigating and continuously thinking about is all about myself, about where I came from and my identity. Its about the things that happened the way they did before me and the consequences of those happenings that made me, and me the way I am. As a working title I think this is very on point for where I am currently in my practise.

Turner Prize 2018: Charlotte Prodger

I was very interested indeed to hear Charlotte talk about “fixed lengths of film” and how they “correspond to a fixed period of time”. The intertwined relationship between the body and technology. I’m personally not so interested in this relationship between the body and technology but I am interested in Prodger’s discussion on technology and in particular this idea of the fixed duration fo time determined by the length of film.

I have never really thought about this duration being determined by a physical length of material before and its a really thought provoking idea. Particularly the idea of the family photographs Ive ben looking at are a sequence that ave been determined by a duration fo time and the length of the film.

Prodger also talked about her fascination with 16mm film, and this has come at an ideal point in my research as I have just been looking at my grandparents super 8 wedding video wondering how I can work with these images. Lots of ideas and thoughts about it to come…..

Holy Land Slides

Whilst thinking about the metaphorical journey taken by my grandmother as part of her arts of memory approach in The Holy Land, I keeping looking at both he image and the physical object of the slide. Interestingly these slides are undated and are labeled ‘Original on Kodak’. I find this even more interesting as it seems these aren’t original and are in fact tourist memorabilia. This also links quite nicely to the fact my grandmother spent many a year there as a tourist. One other point I would like to raise is the link these physical slides have tot hat of the family album photographs taken whilst on holiday. Although these are in some ways eluding to be that of the amateur holiday snap but are actually professional reproductions.


Materiality in Jill Booker's 'Shards'.

At one point, I did wonder whether the photograph of the collage or the actual taped-up paper was the piece, but it always comes down to that final photograph. The collages are quite flimsy, which mirrors the way memories fade and warp over time.
— Jill Booker
Shards 3 - Jill Booker

Shards 3 - Jill Booker

In thinking about the materiality of these images I am working with, I have started to wonder what they all mean and how if at all I am going to work with them. It was nice to see how Jill Booker uses her images to collage with and then rephotographs the collages giving them some depth.

An interesting answer Booker gave as part of a Q&A which describes whats currently underpinning my investigative process at the moment. It seems I am searching for something through the archive i’m studying. This maybe something very real or something not so real, this is to be determined once Ive got everything infant of me.

I am fascinated by memory. It is such a powerful influence on our lives, but it is also ever-changing. Old memories fade and are changed by new experiences and understandings. Memories blend together over time. Sometimes imagined events and wishes even blend in with those memories. In spite of these changes to our thoughts, we trust and believe in them, and they are an important part of shaping who we are.
— Jill Booker

Travelling along a familiar path - Memory Palace

Thinking about the idea of travel, in particular travel in a metaphorical sense along a familiar path is part of the arts of memory technique. I started to think about this in relation to y grandmother and her familiar travels to The Holy Land years after year on pilgrimage. Is this a familiar path? It almost feels like a familiar path to me although I have only travelled it once.

Taking influence form Thomas Albdorf’s use of Google Street view I had a ‘cyber’ look around Jerusalem using Google Streetview. One image was particularly interesting to me.

Tourists always get in the way, Jerusalem, 2018

Tourists always get in the way, Jerusalem, 2018