David George

Final Major Project: Critical Basis For Presentation

As I reflect on nearing the end of the FMP, I’m obliged to consider what has and hasn’t worked in the way the work was presented on the website and at exhibition. The two key decisions about the presentation were 

·      grouping the images into triptychs 

·      presenting the images alongside text

I will endeavor to explain these decisions in this post.

Prior to starting this course I’d always thought of making photographs in terms of trying to create the single killer image, something as interesting and as beautiful as possible for its own sake. I’ve written in earlier modules about how repeated exposure to the work of professional practitioners on this course, and the opportunity to hear many of them discuss their work in interviews, gradually forced me to reconsider the importance of creating the single impactful image. It’s certainly easier to appreciate the value of a thoughtfully curated series of images when you feel the impact of the work either in a gallery or in quiet contemplation of a photobook. The potential for communication of a series of images is exponentially increased over what’s possible in a single frame. This understanding of the true importance of stringing images together arrived for me around the same time as I was trying to understand how to create visual narrative, for which analysis of Gregory Crewdson’s work was particularly helpful. 

So, I was struggling with the idea of narrative and how to create this both within an image and within a series of pictures. At this stage I was still shooting empty urban scenes exclusively and was not able to create anything that I felt effectively communicated the project’s themes. Feedback was always along the lines that the pictures were nice enough, but that the underlying message was not discernible.

Big lightbulb moment came at this exhibition

Big lightbulb moment came at this exhibition

Visiting the London Nights exhibition in May was a key moment, as I’d been wondering about how to solve the narrative question for quite a few months without feeling any closer to figuring it out and so was unsure how I’d be able to produce a successful Final Major Project. At London Nights I saw lots of inspiring work, but a series of images presented in triptych really stuck with me – the connections suggested between each photograph were close yet non-specific enough, that the viewer was able to make links of their own without feeling that the photographer was being too didactic. 

Attempted diptych

Attempted diptych

At that stage I’d already experimented with a couple of diptychs, which I’d found unsatisfactory, but the third image seemed to bring balance and a plethora of additional narrative possibilities. The whole narrative thread opened out in front of my eyes and I resolved to try this with my own work. It was a ‘lightbulb moment’ in the journey of this project.  

Attempt to create an image with some internal narrative

Attempt to create an image with some internal narrative

Once the penny had dropped, I tried creating semi-staged images, in a nod towards Crewdson, to see if I could create more visual intrigue in this way. Unsurprisingly, it did not work too well. The triptypchs didn’t work too well either initially and I felt this was mainly because they didn’t have an entry point – a way to invite the viewer into the story. I realised this would be best achieved by portraiture, using people to spark off the narrative, with the other two images inciting further questions. Images by artists such as Tom Hunter came to mind, whose portraits can on one hand seem almost mundane, but on the other hand are deeply suggestive and sometimes carry layers of additional meaning. I thus used work such as this as a role model to work towards. 

Living In Hell  by Tom Hunter, from   his website

Living In Hell by Tom Hunter, from his website

The key then was to make more portraits and as I was also convinced of the importance of including myself explicitly in the work, I accepted that self-portraits would be required too. I felt a responsibility to match the degree of exposure that my collaborators had offered to the project, and that the work would not be complete without an attempt at honest self-examination of my own state in relation to the issues under discussion.

Making more portraits confirmed that introducing people into the work was the key to bringing the triptychs together. The stories that each portrait suggested based on my own personal knowledge of the subject, or on elements that were suggested from the image itself or from discussions during the shoot, guided further shoots to create images that worked with the portraits or that allowed links to be made with other images made during the project. 

I had also explored the use of text earlier in the project and subsequently abandoned the idea as I felt that I’d somehow lost my way in telling the story I wanted to tell. One of our tutors had also commented to the effect that I’d lost my own voice in trying to seek the views of a large number of other people and I’d taken this to heart as it was a very perceptive observation. I continued to collect writing from collaborators though and to interview the people I was shooting. I was also writing poetry inspired by the project theme and in response to some creative writing that one of my collaborators had written. 

Page example from  Hackney By Night  by David George

Page example from Hackney By Night by David George

Once the triptychs started to take shape and I felt more confident that they’d be able to suggest a story, the potential interaction of words with these images was again interesting to me. Works like Hackney By Night by David George and London Ends by Philipp Ebeling, where text either accompanied the images in a standard ‘image facing text’ (Hackney By Night) kind of way, or in a more whimsical thread running through the book (London Ends) also proved that this might be an effective way to present the work. 

Page example from  London Ends  by Philipp Ebeling

Page example from London Ends by Philipp Ebeling

In each of the above two examples, I was particularly interested in the fact that the text did not necessarily appear to relate directly to the image(s) it appeared with in the presentation. This seemed to offer another opportunity to introduce interpretative uncertainty for the viewer, keeping them a little off balance when trying to understand the work and seek for answers within the triptych. I definitely didn’t want to end up with captions, but with text that further opened out the potential interpretations of the pictures, with the aim to offer as broadly applicable a perspective of the issue as possible, such that the viewer is more likely to be able to connect with some aspect of the work. 

The writing in Hackney By Night is a great example of writing that expands the mood of the images without seeking to directly explain them. Again, as I was aiming for an emotionality in the work, I very much wanted to use any device that could increase the emotional temperature of the work and support the mood I was trying to create for the viewer. 

The way the text was finally used to accompany the work differed on the website and the exhibition. On the website, each triptych is accompanied by text and can be considered as a self-contained ‘packet’ of narrative information. At the exhibition, I chose not to accompany each triptych with text directly, preferring rather to position text in the space in a way that gave the text more independent emphasis and allowed the viewer to reflect on the writing and then move towards another grouping of images in a more flexible way. 

Exhibition visitor reading text

Exhibition visitor reading text

It was interesting to see then, that exhibition visitors seemed to respond in equal measure to the text as well as the photographs. There were a number of people who took pictures of the writing and posted to social media for example, demonstrating that they’d received the text on an equal footing to the images rather than as a narrative sidekick. This response again confirmed the benefit of staging an exhibition, as providing an alternative way to present the work and allowing it to be received and interpreted differently.

Exhibition visitor posted text on Instagram following the private view

Exhibition visitor posted text on Instagram following the private view

Another element that I experimented with during the exhibition was of combining triptychs to create larger narratives. These groups of six photographs came about when planning the exhibition layout on my computer and realising that grids of images gave the work a different feel again. Having two portraits in each group suggested potential relationships between people that were not seen in a single triptych. This was quite fun to play with and the typical response from visitors to the exhibition was of trying to make connections when confronted with the six images, which kept them engaged for longer and forced them to reflect more deeply on what they were seeing. These 6-image grids were the most talked about element of the exhibition without doubt, and the aspect that provoked the most questions from visitors. 

6 image grid on show at the FMP exhibition

6 image grid on show at the FMP exhibition

It was really satisfying to get direct feedback on the mode of presentation, when the viewer was finding a single or multiple implied stories, but was not able to satisfactorily resolve them immediately and was thus provoked to ask a question about the work. Having viewers arrive at widely varying interpretations of the same set of images was even better!

Overall then, I believe that the decisions to present the work in triptych and alongside text were both successful at this stage of the project. It is possible that as the work continues and the range of responses to the issue increases, these decisions may no longer serve the best communication of the themes and I would be happy to concede them as they are by no means non-negotiable. As stated previously, I feel that there’s still a long way to go with this project and the work will no doubt change course again before reaching its natural conclusion. As I look ahead, I anticipate the addition of video to the work as well as a wider variety of scenes and portraits but there will almost certainly be other unexpected developments and I look forward to steering a course into the future.

Informing Contexts: Week 8 Reflection

“My life is kind of, at least equally influenced by pictures of things, as it is in things. We know what’s nice because we saw it in a magazine…we make lots of decisions about our life, and what we want, who we are and where we want to go, from pictures”

Thomas Demand, 2013

This has been one of the most difficult CRJ entries to write. Week 8 encouraged us to consider and evaluate the ways in which photographers discuss and defend their own practice. This has always been, and remains, something I find very difficult to do. This inherent incapacity coincided with another testing period at work and along with my ongoing inertia with my project, left me stumped. 

It seems, as we get ever closer to the final project, that we’re required to be more specific and more articulate about our objectives as practitioners...not an unreasonable demand at this stage of a postgraduate photography degree. Yet for possibly the first time, I'm questioning whether I was ever that suited to MA study, having had no formal photography training prior to starting this course. Combining this course with an increasingly demanding job hasn’t gotten any easier, and has left me perpetually frustrated that I haven’t got more physical and mental resources to devote to the course and to reaping the rewards of prolonged, intense concentration and reflection on my work. I find myself thinking that I will not truly have internalised all the lessons on this course till probably two or three years after graduation (I’m hoping to achieve that at least!).

So week 8 was a bit like that!

Asked to consider what ideas, aesthetics, techniques, contexts and theories we are exploring in our practice, I initially just baulked and was completely unable to engage with the question. Only after a couple of weeks of rumination have I been able to come back to this question in even a provisional way. I’m still wrestling with these ideas, still trying to absorb some of the lessons we’ve been introduced to during this module and during this course (which has flown by the way!) and still trying to understand my place in the matrix. I apologise in advance therefore, if this entry feels somewhat nascent and unformed. 

The ideas I am trying to explore in my current work have been consistent in big picture terms but have changed in subtle ways on the micro level as I've moved through this course. 

At the moment, I'm trying to examine:

  • Solitude/loneliness as a pervasive and yet under-discussed state.

  • Loneliness as a negative – isolating, depressing, oppressive, diminishing and destructive, leading to communities lacking cohesion and interpersonal connections.

  • Solitude as a positive – regenerative, contemplative, protective and liberating.

  • My own experiences of solitude and loneliness – how/where/why I’ve felt lonely in the past, what my feelings are about these events now and what I hope for moving forward.

  • Solitude and loneliness as these states might be connected to previous emotional trauma/memories/significant moments in time.

  • Solitude/loneliness as experienced at different ages/stages of life and how one's experience might differ depending on your age/stage of life.

What am I trying to say in my work? Well, I'm trying to say loads of things (successfully or otherwise, who can say!):

  • That there's beauty at night

  • That there's room for reflection, contemplation (and possibly temptation) at night

  • That you might be alone but that you aren't really alone – we're all in the same boat, feeling this way is not unique (or as isolating as it may feel at the time). 

I'm also trying to say that I too feel this way, alone, adrift, cut off at times and that I'm trying to understand myself and my situation...how did I get here? How can I bridge the gap between myself and others? I'm trying to say that we need to look out for each other, and look after one another. We need to look outside of ourselves. I'm trying to say that it's ok to be different and to stand apart from the crowd. 

There's a lot there! These elements come in and out of my thoughts at different times as I try to build this project and conceptualise the work. They have also, to different degrees and possibly in less explicit ways, been present in much of my photography since I first started taking pictures back in 2013. 

Artists and practitioners whose work resonates with me, and feels relevant to this project include:

  • Clint Eastwood
  • Sofia Coppola
  • Christopher Nolan
  • Todd Hido
  • Alec Soth
  • Gregory Crewdson
  • Rut Blees Luxemburg
  • Edward Hopper
  • Stephen Shore
  • Rebecca Solnit
  • David George
  • Olivia Laing
  • Mark Rothko
  • Barry Jenkins
  • Sam Mendes
  • Lynne Cohen

For me, these people – filmmakers, directors, photographers, writers, painters – have in common that they produce work that relies heavily on storytelling, narrative, sentimentality, beauty, giving voice to the outsider or disenfranchised and taking an alternative view of things at times. Many of these practitioners have directly referenced solitude as a concern of theirs, or produced work that explores this theme to at least some degree. 

Thinking specifically of the photographers, there's a consistent thread of producing images that challenge the viewer to consider what's happening both inside and beyond the frame – narrative images that demand interpretation or discussion. Most of these practitioners stare directly at bare emotion, have an obvious interest in the human condition, and are not afraid to confront or explore sometimes difficult feelings. Even in the case of practitioners such as Cohen, whose work rarely actually includes humans, there is an inquisitiveness about the impact of humans on the world and the environment and an encouragement to think beyond the boundaries of the image. 

I am predominantly producing images at night at the moment. This aesthetic choice stems from my own comfort with this time of the day and the techniques required to produce interesting images at this time, but it also fits my own conception of solitude, my own feelings around this and my previous experiences. There's also something in there about how I process things visually and the way memories tend to come to me more easily at night, in darkness, than they do during the day. The idea of reaching into the depths of memory or emotion to connect with these feelings certainly works best for me at night. I've written before about how the night stereotypically lends itself to some of these ideas, the ‘dark night of the soul' etc and this also feeds into and informs my practice to some extent. Practitioners in the list above who are also predominantly known for night work (e.g. Luxemburg, Hido, Hopper to a lesser extent) often portray a strand of displacement and disconnection in their work, Hido in particular. 

Increasingly, I’m convinced that I need to introduce people into my world of solitude, whether that's portraiture or as actors in the urban landscape, because the work now seems to be somehow incomplete without finding a way to include the people I’m trying to represent, the people I am trying to 'reach out' to. I plan for people to play a more prominent part in the work in the next phase of the project. 

When considering the context of my work, I'm hoping to argue that the state of solitude is an almost universal one and thus the context is potentially everywhere and everyone. This work should be applicable, and hopefully accessible, to all. I originally conceived of this work as being a useful starting point for a workshop about this issue, hopefully with the aim of providing strategies and resources to help people ‘reach out’ to others and ameliorate this state of loneliness. Moving forward into the final project phase, this has to be a key strand of the work – making it accessible and relatable to people in different strata of society. This aspect of the project is really important to me, but has yet to be fully explored so far. 

Some contexts for this work are easily identified – the book, the exhibition, the short film. These strands interest me in different ways, and feel like essential parts of the final complete whole of my ideal project. Of course, constraints of time/finances/collaborators/my own competence etc. may mean that these avenues are not all available, but they still represent the goal. I would ideally like my work to be available in all of these contexts, but appreciate that that work may necessarily extend beyond the duration of this MA. 

Thinking about the professional placement of this work, I believe this largely depends on how well I'm able to engage potential audiences, where they are, in a way that encourages them to interact with and respond to the work. For example, it's certainly possible to be more strategic about how I share this work via my current social media channels. Finding effective ways to interest my followers could give the project a new lease of life and propel it into a wider consciousness that then opens up the possibility of publication or exhibition. I must engage the audience, I have to generate sufficient interest and feedback from those who do encounter the work, to be able to leverage that for possible professional dissemination of the work. 

Considering critical theory that might underpin this work, I suppose the project relies in some way on the idea of connecting with the viewer through common references and common experiences. We’ve already discussed in this module the idea that a large part of the success of an image relies on its ability to utilise commonly accepted ideas and signs to communicate with the viewer. As the work becomes more personal and more introspective, I have to consider the importance of expressing myself in a way that optimises communication, possibly by using accepted visual references, but that still allows me enough creative leeway to produce work that’s individual and distinctively 'mine'. 

Ultimately, I want viewers to be moved by the work, to feel an emotional connection to the subject and the content of the images. Of course, this relies on me communicating clearly and skilfully. I want the viewer to be able to see something of themselves in the work (another reason why adding people into the mix seems to make sense to me). I want my viewer to be challenged to review their environment, to look around more, to see opportunities for connection where maybe they hadn't done previously. I'd like the viewer to know that I feel the same and that in most ways that matter we're all the same. 

References:

YouTube. “TateShots: Meet the Artist - Thomas Demand”. Available at: https://www.youtube.com/watch?v=fpesyyXWMvg[accessed 12 April 2018].