The problem with assessment seemingly is in it’s preparation, the work seems to want to carry on. I had decided to make the mono print as a reference, it being the distillation of the work that I did in this assignment. I had had some conversations with Sharon on this about how it might be developed – see here – and whilst photographing the framed image on the wall I was struck both by the ambiguity of its presence but also but the strength of the photographic image. Barthes, in Camera Lucida famously waxed lyrically about his mother’s depiction in a photograph (opening sections of ‘Part Two”) and whilst I may still make another image as a discard I decided to make another image and purposefully distress it. I decided on a matte paper and printed it with a gloss profile – I know the image will fade – I then tore the image in two separating the two subjects, my mother and me, and then arranged them in a number of settings to see which ‘spoke loudest’.
I have registered with the college for the July assessment so I need to finalise things. I want to register soon for level three. Sharon suggested that I try and find a way to leave the personal from this archive images. The problem with that is that these aren’t archive images, they are constructs with, clearly, my own narrative assembling, and disassembling, them. Either way leaving level two will provide a Rubicon to cross and allow fiction to become the essence of what I want to achieve with narrative. The first and third images have an element of movement about them, either one may be moving away from the other or moving closer; the second image is in a state of finality – they are distinct from each other. The images that have missing persons show no disconnect at all, after all where are they? Unless by condition we know there was someone there and in which case it might be an altogether different image.