Student Name: Edward Lerpiniere
Student Number: 506079
I’m so glad you chose something close to your heart and a personal project. GREAT!
Your images and clarity are very much improved. The images you have taken for the assignment are well presented, composed, toned, textured, lit, balanced etc. A professional look has emerged!
I’m also very glad that you are more pleased than you have been with your offerings! It is something ‘of you’ and that is evident. It is from the heart and your voice is starting to emerge. Keep it up!
I understand your aim is to go for the Photography Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, and providing you commit yourself to the course, I suggest that you are likely to be successful in the assessment.
Feedback on assignment
I’m glad you found these exercises helpful – I think there have been some marked improvements to your pictures, perhaps as a result?
An excellent contextualization for your theme. You are referencing interesting and relevant artwork and photographers. My only thought was that as well as looking at the documentation of decay you are also looking at history. There are also artists doing this and the fact that you are working with found photos adds another interesting layer that you don’t speak of so much in other artists’ work.
I hadn’t fully thought through the idea that I was working with found images and the historical aspect, although recognized, it hadn’t struck me as something other artists worked at. However, thanks to your prompt, I’ve looked at ‘found art’ and historical imaging and found that the one artist that stood out to me was Jo Teeuwisse and her use of found images is very inspiring.
I found it hard to see the importance of having some of the original images included. Although they are nice to look at I wonder if you needed them? It makes your work appear a bit illustrative when I think you are doing more than that. I think if you got rid of them from the final series but included them as research it might strengthen what you are saying.
I’ve moved them into the Other Research section which, as you said, is a more appropriate place for them. I think this was me having a fuzzy idea about ‘Then and Now’ and not grabbing hold of it properly and having enough images to make it work. I also failed to realise that the effect I’d finally managed meant nothing at all and should have been scrapped before I had to be made aware of its failings.
Some of your captions are great. When the image is very ‘still’ and the caption talks about a dramatic event that happened there the complex play between the image and the text works very powerfully together. I also really like that with the missile I am looking at a black and white image and you are talking about he fact that it should be blue. Black and white distances one from the subject, yet here your caption brought me closer. Very successful and something to consider for perhaps using the same approach with all your captions. Captions are really hard to get right – the main thing is not to tell us what the photograph is telling us (a BIG amateur mistake) so the captions that work the best here are ones which either confuse the picture or add something to it’s reading. In other words – I think the captions do what the original images were doing in providing a context for the new image, but in a more interesting way. It provides more of a dialogue for the viewer than a visual comparison. It makes me think more – it’s showing not telling, which is what we are looking for.
Thank you that your blog is set out clearly and is so easy to navigate.
I enjoyed your thoughts about the Lacock Abbey visit. The question you are considering about whether meaning has to be present to make a work artistically viable has interested me for a long time. For the sake of the log it is important to show that you are considering all angles and you are engaging with the issues it raises – which you have done well. I think this has actually taken your writing up to the level I was asking for – that was easy wasn’t it?! The key point being that you positioned your argument within the context of the varying opinions and gave a well rounded response. One thing you didn’t mention was the artist’s intention… I had a quick look on her site and couldn’t find much… do we know this? Anyway it’s all very interesting to think about found and intended meanings. Personally I always find it a bit disappointing when the artist is clueless about the meaning in their work and it’s all about the ‘commercial appeal’. But that doesn’t mean it won’t stand the test of time.
People in Trouble laughing Pushed to the Ground (Dots), Adam Broomberg and Oliver Chanarin. We saw this at Saatchi Out of Focus is you remember. Using an archive to change the meaning and bring something new to the found pictures – as in bringing a new meaning and context to the original images rather than re-photographing. I interviewed them about this series which you may find interesting.
I don’t know why I’m compelled to tell you about this but I think the idea of creating a fictional archive is interesting. The Faye Richard’s Archive by Zoe Leonard is really intriguing as she creates a fictional character out of seemingly found photos.
I suppose my intention in drawing you to these two projects is to push you to consider how you can develop the original images and bring more of your interpretation into the series. Although you are definitely working with the ‘document’ in this series I wondered if you could have pushed it a little further creatively speaking.
You have successfully looked at the restoration of this site over time and I wonder if it is one stage in a longer process. If you continued with this project something else might come up. I am looking forward to the canal work but if you continued this work to the next level I think you would be onto something, something more inventive than looking at the land, which feels SLIGHTLY like a research stage, although I’m not saying it wasn’t interesting in itself, I just feel like there is more to unearth perhaps. If you feel like you are ready to move on then fine but don’t be afraid to keep pushing it until you get to the stage of creativity you are hoping for – it doesn’t happen in one shoot, normally, for me anyway! Which is why as the degree progresses you will be spending more time on one project.
I’ll definitely be working on this theme, whether it will specifically include Greenham Common I’m not sure because at the moment I can’t feel within myself anything else I currently want to say about the place; perhaps something will come forward as my conceptualisation advances.
Pointers for next assignment
Looking forward to the canal and the continuation of this theme. Try to develop this project and perhaps view the canal as an extension of this study. Try to incorporate some of this feedback, in particular think about what you want to say by using the canal. What is your most important point?
Ok I think that’s enough waffling from me. I hope you find it helpful. As ever, do let me know any thoughts, concerns or questions.
The feedback I received this time is more pleasing than even the last and I now feel, and believe, that I’ve at last found a track to follow to get out of the woods. Your positive support is giving me the confidence I needed to realize some of the ideas I have and hopefully to mature into a good artist, but I mustn’t get ahead of myself with over-confidence.