Last light

I watched the light late yesterday, anticipating it’s movement across an empty dining room; waiting for a time. The room will be filled again soon, the work on the family space is nearing completion, it will no longer echo loudly. The light was much stronger than this when I saw it and decided to make an image of it, by the time I was in position, low down and out of the frame with the window behind me, the light was fading, almost evaporating; the three shafts of light illuminating the back wall were disappearing, I suspected it would be the last light I would be seeing in this way through the west facing room.

I found it restful to sit on the floor and reflect and think about this project, about how I have allowed these to ‘lights’ reveal things about me. It may have helped of course that we have lived here for so long, that my sons can only remember this place as a home before setting up homes for themselves. And after a few minutes another light started to infiltrate the room, I was sitting on the floor, below the window and watched as the light flooded onto the wall.

I made a few images – this ‘full-frame’ being the one that I connected with most. I also filmed the end of the light; handheld and with a rhythm that connects it directly to my breathing, the light fades to the right, I think I will add this to the post when processed. I haven’t connected texts to these images yet, I may not do so.

Tutor feedback Assignment 5

I have taken recent advice and read, re-read and read again the report before making comment, however I can find nothing negative in the note at all. In fact I would go so far as to suggest it was wholly positive.

One after the other

My tutor suggested that I reflect on one aspect of the work which was to look at the differences between the ‘solid’ images – those of the boat, the figure, the skin – and those of the play of light on the walls (or wherever I found it). There was a recognition that these ‘solid’ shots were there because they were important for me on a personal level, that the connotative presence (of these mimetic occurrences) – coupled with the text – provided a stronger sense of a personal narrative. It is true the texts are all extremely personal and this sense of ‘me’ in the work was something my tutor commented on positively, but I realise that I have choices with text and image and the purposeful coupling of them – and, because of the way I presented them, the channeling of narrative discourse.

Monotony of your voice

The work is a set of images and text bound together in a ‘book’ form, I shan’t attempt to deconstruct the edition I sent to my tutor though I shall consider re-making it for assessment. The comment in the report  “…. The more successful ones for me [tutor] were the shadows and light against white walls.  As I saw these repetitions I began to create my own visual stories – much like looking for pictures and stories in the clouds as kids!   The wooden face, the porcelain figure, the glass diamond, the plant, the green leaf (?) and even the skin are all too solid for me.  I want to float in this series and not be directed by colour or recognizable objects.  This is my personal take and you may decide that those objects are important to putting you in the work.  If so I understand that and you could write that up.”

Reading really works

I’m really pleased and somewhat flattered that someone might develop there own sense of narrative from this work – that is exactly what I hoped would happen – from my submission “The position (of the images) in the sequence, together with the ordering of the sequence came about after some lengthy deliberations with all of the images spread over the floor, and they are in the order as set out below. I wanted to suggest connections and then to break them; this is also the reason for the different placements of the text in the frame and the variance of landscape to portrait images, an effort to ask questions both of the viewer and the narrative elements in the images. I suppose the first and last images have a narrative sense that might appear to be obvious (?). I have presented them to my tutor as a sequence of images rather than fifteen individual images. I have attached the prints together and thereby forced ‘connections’ between images and forced, to some extent, the narrative journey of the images – though of course one may start to view the images in any place, but their relatives will always be the same. Whether it works for anyone else but me I’m not sure but I have enjoyed this process immensely and I’m hoping it has legs for the future.”

What does the contrast achieve

Compassion fatigue

Black is the strongest for me

I have now to ready the work for assessment and thank my tutor Sharon Boothroyd who has provided guidance and inspiration (and all the associated texts on this page!), for challenging my reaction to my ‘pretty pictures’ and for helping me to see beyond that dark glass.

Personal Project & Study day, Penarth

Original print and text orientation

We make the Path.

The Study visit to the ffotogallery in Penarth to view the work of two landscape photographers – Paul Gaffney and Michal Iwanowski became more interesting than I thought, or hoped it might be. In another course (Gesture and Meaning) an exercise had me documenting ‘where I live‘ and I stuck rather rigidly to the brief and produced some images; I remember at the time considering how little I was presenting of the environment, it’s people and it’s history.  I had thought at the time, about twelve months ago to re-visit some ‘places’ in the village that are mentioned in the local history group’s archive – http://www.bartonshistorygroup.org.uk and maybe reinterpret some of the photographs from the extensive library. The ‘light’ project which I started some time ago has provided me with an opportunity to develop some of those thoughts and I have turned this into a personal project – here and here. I presented the first prints of this project at the ‘Study day’, as we were encouraged to bring some on-going work to critique and it was suggested that I ‘post’ them here as the project has moved on from those initial thoughts. The presentation in print form is unsuited to digital projection on a screen – even if I enlarge the image for the screen the text, which is a vital component of the work, is diminished beyond recognition – see above; so I have restructured the images to reflect their different circumstance. The original prints were made on A3 Canson Infinity Baryta Satin finish paper – the image size was 32 cms X 21.5 cms and the text printed at 10pts in Cambria body font. The decision to choose that text size was to separate the text from the image somewhat and encourage both a connection with the image at a distance and then with the text close up – neither could be encountered at a similar distance thereby creating a tension. I was also aware that I had provided text to all the images, whereas in another setting – a gallery wall or a book – I could afford either images with no text or text with no images, but since I was presenting individuals images that strategy wouldn’t have worked I felt.

The work on view at the ffotogallery by both artists investigated the notion of a journey, which is what I feel this personal project is all about. Paul Gaffney, whose journey was as much conceptual as it was physical and Michal Iwanowski whose work described the very personal echoes in a land that had been trod by two of his predecessors during WWII. The study visit allowed a great deal of conversation about the twin works and what those works communicated to each of the visitors on the day. My personal readings were mediated both by the intents of the artists but also how the conversation on the day coloured that view. Gaffney, who uses meditation as part of his practice, decided to walk and use the meditative process of walking to lead him to make photographs, whereas Iwanowski wanted to re-tread and retrace the escape that his grandfather and great uncle made on foot from Russia to Poland. Gaffney ‘found’ the title for his work in the poem by Antonio Machado “Traveller, there is no path” …. two lines from the poem:

“Traveller, there is no path,
The path is made by walking.”

This seems a perfect analogy for the work that Gaffney undertook – his intent was to walk for 30Km a day – which was to ‘walk and by that process make some work’ . The gallery was at great pains not to reveal any information about the specifics of where Gaffney walked other than to say it was Southern Europe, in his book he mentions France, Spain and Italy – if I remember correctly. The routes he chose all had reasonable trails and overnight stops, but the process of travel, without seemingly a destination in mind, perhaps only a means to an end, seemed to be the purpose:

“By walking the path is made
And when you look back
You’ll see a road
Never to be trodden again.”

And interpreting this text I saw the images he made as either short term staging posts – in the long journey – or as views to the future. I feel that text anchors to the notion of a sort of carpus diem and a letting go of the past, not wanting it to hold him back, the relentless distancing by the continual monotony of the stride. Gaffney’s reflection came before him and not behind on the 3500 Km journey. Further reading here from Photomonitor.

Iwanowski, on the other hand, purposely had a destination in mind and he carried the past with him as luggage on his journey. Though he never retrod the complete distance, some 2000 Km that his forebears did as a means of escape , there was ample evidence of the echoes of his past haunting the journey he made. This work was all about looking back, maybe to reclaim some form of lost inheritance or even to lay some of it to rest – his Grandfather has passed, though his Great Uncle lives on. I was more immediately moved by these images than I was with Gaffney’s. The conceptualness of Gaffney’s work presented itself as more distant, less emotionally charged than Iwanowski’s. And again text was a key element in the amplification of those emotive charges. Iwanowski didn’t have a lot of text, but those that were available in the room were those taken (and sometimes edited by the artist) from the diary of those two escapees in 1945. This anchorage provided a real sense of the personal in this work, it seemed to charge the images with both the echoes of the past and the artist’s present tense reaction to it.

We were told that Gaffney had provided a very clear set of instructions as to how the images were to be presented, their elevation, their proximity to one another and of course their order. This was then a very prescribed order and, as I have said earlier, no hint as the geographic reference of the images. The spectators to Gaffney’s work were invited to accompany him on a very specific journey, I commented on how certain images provided punctuation marks in the series and when I later looked at this work in two other forms, the book he has made of the work and the artist’s website, I note that there are no two layouts similar. The end image (one of those punctuation marks I noticed early on) was the same for all three layouts, but the images were differently sequenced and that made me think about both what the artist was creating. It seems to me now that his purpose for the differing, very specific excursions, was to illuminate alternate narratives that the artist derived from his investigations – no one journey having primacy over another, just a different way of assimilating the information provided by the imagery from the same expedition. As Foncuberta might say, the truth is not in the image it is in the fiction we create from their association.

Iwanowski’s work didn’t have a prescribed starting point, the viewer could enter the walled space and turn left or right, the book of the work of course has a start and an end, the gallery on the artist’s website equally so, so I found it a trifle confusing that the artist and gallery didn’t prescribe a direction of travel. Nevertheless the singularity of purpose of Iwanowski’s work was seemingly key for me, much as the arbitrary walking of Gaffney had perhaps too many layers to it for me. I wandered around Gaffney’s work trying to find a purpose, I thought I noted an impelling forward looking narrative, but this was somewhat diminished when I saw his other sequences. It was Iwanowski’s work that evoked a connection with my personal project. The text that he used (despite an acknowledgement of some editing) stemmed from the past, a personal reflection that seemed to the artist to find an echo in the images he felt compelled to make along the journey. The ‘light’ series have similarly provoked a response, marking a space that have held a history that was important enough to be recorded textually by someone in the past. I wanted, somehow, to be able to bring those moments from the past to ‘re-surface’ them, make them relevant, or gain some relevance once more. Some of the texts have socio-political references, some are about the trivia of everyday life whilst other reference some of the major cultural changes to the land and the those that peopled it in a time perhaps almost forgotten. What follows is an attempt to display the selection I took to Penarth with the text more accessible to this blog structure:

My loving wife Joane shall have the use of all my Goods and furniture in the Chamber where I now usually lye and alsoe of four pair of Sheets one table cloath one dozen of Napkins two hand towels two Little barrels my second best brass Kettle two pewter dishes six pewter plates the metle pottagepott and Such Other of my Goods and Chattles as She Shall have Occasion for and desire not Exceeding the Value of Forty Shillings and from after the decease of my Said Wife the Said Goods Chattells and furniture to said two Children Joseph and Sarah to be equally divided between the Share and Share alike.

My uncle used to make the fizzy drink. It was a funny machine that he had, it was a funny contraption, more like a treadle. He’d only got one leg and it was something you had to work with a pedal and then you put something into it to colour it or to make it fizz. I can remember when he first used to do it the bottles they had – you’ve seen them bottles where there was like a glass marble you pushed down – it used to be that sort.

 

The meeting was attended by nearly every labourer in the parish. After the warrant of appointment had been read, William Windus, one of the labourers, desired to know how the Rector and parish officers became trustees of land which was common land. This was explained by reading part of the Enclosure act. A lengthened discussion then took place and several labourers present stated their determination never to pay rent for their allotments nor to quit.

It was an obligation of the parish to provide stocks for anyone who misbehaved. The punishment being usually fixed for a Sunday. The stocks were placed at the corner of Fox Lane so that the prisoners could not only feel the scorn and contempt of people going to church but were made an unhappy target for any missiles which had been brought for the occasion.

There was, however, a lot of illness – the dreaded consumption, diphtheria, scarlet fever, head lice and ringworm were very prevalent. I remember boys wearing skull caps to hide the gentian blue on their heads after being treated for ringworm.

That gentleman, whose colleague as churchwarden I became about nine months before his death, told me that before the inclosure of 1797 he had frequently gone to tithe-cart in Middle Barton field – that is, had collected in waggons the bough-crowned tenth shocks of wheat, cocks of barley, oats, &c.,

29th September 1853. The labourers selected four of themselves to act as a committee with the agent in bringing the business into shape. The meeting which was at one period rather turbulent broke up”. It sounds as if the Peasants revolt had started.

December 14th 1650 a servant girl named Anne Green was hanged for murdering her illegitimate child. After being cut down her body was sent to the Anatomy School, Oxford for cutting up. While there she was resuscitated. In 1651 Anne Green came to live in Steeple Barton where she married and had three children. She died in 1659.

Rapid expansion of the village of Middle Barton began with the sewer being installed. Unfortunately, the Bartons have never been a tourist attraction or considered pretty villages. In October 1955 a reporter from the Oxford Mail after visiting Middle Barton wrote “It was quite the ugliest village I have seen in Oxfordshire, indeed it is the only really ugly village I have seen in Oxfordshire”.

I think I am at a point which tests the limitation of blogging and to render them better for virtual viewing I would need to post on a web-site specifically designed for photographic purposes; but like Gaffney I am no hurry, or as Machado might have it: ‘We make the Path’ by the work we do, the journey we take.