November 2018

Final Major Project: ROITD Website Outcome

Early on in the planning of the potential outputs for this project I envisaged a website as a significant, and possibly the most important, outcome of the FMP. As the FMP period continued and the chances of staging an exhibition appeared to recede, I further concentrated my focus on producing a website to display the work and which could serve as a hub from which the project would continue to grow and deepen post-MA.

I had purchased a suitable domain some time back in preparation for building the website, but only began outlining how I wanted the site to develop in the last month or so as the project and the planned triptych format started to take shape. 

The aim was to produce a visually interesting and informative website, that would be able to provide a deeper experience than available at the exhibition. In keeping with the breadth of responses to the themes of this project, I was keen to present information in a range of formats – 

·      factual information and links

·      contextual information about the issue of urban solitude/loneliness

·      interview excerpts from those who’d collaborated in the project 

·      creative writing from collaborators and myself

·      songs that respond to the theme

Due to the multi-format nature of this information I was confident that a website would be a perfect platform for presenting the work. The challenge was to do so in a way that was engaging without being overly dry, or that took the emphasis away from the images.

Example of a page from Raphaël Dallaporta’s work  Domestic Slavery    from artist’s website

Example of a page from Raphaël Dallaporta’s work Domestic Slavery from artist’s website

Useful references for this work included Domestic Slavery by Raphaël Dallaporta and Imperial Courts by Dana Lixenberg. These two examples showed that communication of the themes and message of a project could be enhanced and its impact amplified, by accompanying text (Domestic Slavery) and that a multimedia presentation can result in a richness and depth of coverage of a theme that isn’t possible using still images alone (Imperial Courts). 

These projects, particularly Imperial Courts, were exemplars of the sort of treatment I was aiming for with my own website. I have always felt that this project will not have been fully explored without film, more creative and investigative writing and potentially full interview transcripts also being presented alongside the photographs. This deep exploration of a theme really appeals to me, as it allows me to continue my enquiries following completion of the MA and also because the scope of this topic is so broad as to almost demand more than the 6 month treatment available during the FMP.  

As the image-making started to come together, so the potential website layout also became clearer. I was thus able to start building the website at the beginning of November, using placeholder images to give a sense of what the eventual layout would look like and how the text would relate to the pictures in the final presentation. 

I was fortunate to be able to draw on some rich textual material from my contributors and the beginning of the website build coincided with further written submissions. I’d also been working on some writing of my own which continued alongside the website draft. November was thus a busy month of more shooting, website planning and building, writing and exhibition planning and I was pleased with the progress I was able to make in a short time.

Once the date of the exhibition was decided, I aimed to have the website ready to publish on the day prior the exhibition. This was to act as a primer and public introduction to the topic and would also be available to support the physical exhibition (e.g. I was able to refer exhibition visitors to the website for more information and images when meeting them at the gallery).

Text presented alongside images on the project website

Text presented alongside images on the project website

At time of launch, the website consisted of 36 images in 12 triptychs. Each triptych is presented with an accompanying text excerpt. The text being of varying length and type (interview transcript excerpts, creative prose or poetry) and in some instances chosen to seemingly reinforce the putative theme of the triptych and in others to challenge it. 

The website also includes information and statistics about the issues of solitude and loneliness and the emotional and psychological impact it has. In addition, the website includes contact information for agencies that are somehow related to this issue. 

Information about solitude and explaining the project in more detail on project website

Information about solitude and explaining the project in more detail on project website

The reaction from people who’ve visited the website has been very positive. I have received comments on the images, the impact of their presentation alongside text, the usefulness of the information that adds context to the topic and the value of including contacts to helpful organisations. 

I’ve been gratified to hear from a number of people that the work on the website has moved them emotionally, including a couple of visitors who have been moved to tears by the work. This was pleasing to hear from the point of view of confirming the success of a key project aim, that of engaging with the viewer’s emotions and producing work that carried an emotional weight. Again, I feel this was more successfully achieved by combining text and images than would have been achieved simply by images alone.

Links to relevant organisations on project website

Links to relevant organisations on project website

The website has also acted as a starting point for dialogue with people who are themselves interested in investigating this issue and with agencies who are already doing so. I have been able to refer them to the website for a quick appraisal of where I am with the work so far and what my standpoint is, and this has been a great platform from which to discuss potential collaborations or to launch ongoing dialogue about the issues involved. 

Overall then, I would say the website has been the most successful aspect of the project, because of its permanence and the fact it will allow the work to be visible and accessible in a way that suits the viewer. Based on the responses I received during the exhibition, there’s also likely to be a benefit from the ability to engage with the work online anonymously and at one’s own pace, my suspicion being that people are more comfortable engaging with and reflecting on this work when they feel under no pressure to react to it for an external observer or where they are not in danger of having a potentially emotional response noted by someone else.

In the near future I aim to add a short movie to the website, as well as more transcripts from recent interviews that were conducted just prior to the website being published. I will also continue to add images as the project continues in the weeks and months ahead.

Final Major Project: Reaching Out Into The Dark Exhibition, November 2018

The ROITD FMP exhibition took place this week, November 27th and 28th, at studio1.1 gallery on Redchurch Street in Shoreditch, London. The decision to actually hold an exhibition was only taken earlier this month, so pulling it together from conception to opening occurred in the space of 19 days.

studio1.1 London gallery

studio1.1 London gallery

The progress of the work during this FMP period has been slow and hindered by outside factors, such that I initially felt that trying to hold an exhibition would prevent me from focusing enough time and energy on actually having enough work to submit by the December deadline. I was also discouraged by preliminary enquiries into potential exhibition spaces. Space hire seemed so prohibitively expensive and difficult to arrange that I figured I should concentrate on putting the work together for online presentation in the form of a project website, which I’d always envisaged as the main repository of the finished work.

I had wanted to present the images in triptychs, aiming to suggest quite open-ended narratives, and had decided that each triptych would be anchored by a portrait. After completing a couple of portrait shoots in the last six weeks or so, I saw this vision finally begin to take shape in a way that made an exhibition now seem possible.

Triptych

Triptych

Additionally I was encouraged by a conversation with tutor Wendy McMurdo, an incredibly accomplished artist in her own right, who seemed to confirm that the work was heading in the right direction and encouraged me to keep pushing forward. She perfectly understood the internal conflict that I was having – ‘that’s the artistic process Justin’ – and this reassured me that I wasn’t going crazy and that I could possibly pull it off after all. 

I also realised that without an exhibition I’d be missing a great opportunity to engage with the audience, to ‘reach out’ as I had always been aiming to do with the work. Reflecting on this aspect of the exhibition is something that I’ll discuss further in another CRJ post.

So, once decided upon, it was key to find a space to show the work. I was really fortunate that studio1.1 were able to accommodate me for two days at the end of November at a discounted rate that was within my budget. I had enough time to pull everything else together and also make more work, which at the time of deciding to have an exhibition was still necessary.

The initial plan was to show 12 to 15 images, but it quickly became clear that to do so would not allow me to articulate the idea well enough and would also not fill the space that the gallery afforded. The final exhibition consisted of 18 images presented with accompanying text panels taken from the project research, as well as some additional contextual information about the issue of urban solitude and loneliness. 

Following on from my recent experience with the Shutter Hub Open, I explored the possibility of using newspaper for the printing and made enquiries with Newspaper Club about the papers and sizes available. The price to print on newspaper was certainly very attractive compared to my usual printer Digitalarte (approximately 10 times cheaper!) but once I was clear about which images I wanted to show and considering the subtlety of tonal variations and deep shadow in many of them, I ended up going for the tried and trusted, and much more expensive fine art method. 

Once the space was secured I started promoting the exhibition via Instagram and Twitter and received a number of tentative responses suggesting that people were interested and planning to attend. The private view was held on the evening of Tuesday 27th and I’m really happy to say that it was well-attended.

Visitors at the Private View on 27th November 2018

Visitors at the Private View on 27th November 2018

The show ran for two days, 11am to 6pm on both days, with the private view from 7 to 9pm on the first day. I would have ideally held the exhibition for longer, but the gallery only had two free days available and it was difficult enough getting time off work for this period as it was. All in all it worked well, allowing those who expressed an interest in attending to do so. I was really gratified that people travelled from outside of London to see the exhibition and the feedback was generally really positive, which validated the expense and effort that had gone into putting the show on. 

Overall, I’m really glad that I made the effort to arrange an exhibition. It was an incredibly valuable learning experience, both in practical and organisational terms, but also in terms of helping to better understand how to present work to attract and engage an audience, what considerations are important when planning what one hopes will be a successful show, as well as helping me to gain a better understanding of how different outputs can connect differently with audiences and thus how to more strategically present one’s work in order for it to have the maximum reach and impact. 

I will write more about my reflections in this regard in a subsequent post.