Based on my previous research and recent projects (triptychs), I am going to make the Major Project using diptychs and composite techniques. I am interested in using diptych compositions because of its narrative and juxtaposing tendencies. This interest comes from my previous experience with triptychs, and thus I find diptychs a reasonable step towards further exploring of the relationships and tensions between images. With my work I am trying to investigate people and their living space (urban/rural) as two faced, focusing on differences in architecture, tradition or lifestyle that reflect past and present. I am also trying to establish a visual communication between viewer and the body of work. To do that, I will be using techniques and processes like, translation of the analogue medium to digital, creating narratives and juxtapositions, visually excite or stimulate interest (using objects that merge from one image to the other). I will mainly be taking photographs on the street (documentary, snap shot), which I will then pair up/juxtapose into diptychs to create new relations and meanings. The creative process of the Major Project could be divided into three different sections.
The first section will be dealing with the contextual and visual contemporary research. I am going to look at other artists who used diptychs in their work, mainly as means of expression. Also, I will spend time researching the backgrounds of their ideas. The main focus is to develop the project and to do that, I will be building the context for it around the following artist: Lubo Stacho (for his spiritual/ humanistic approach), Denis Roussel, Ralph Gibson (for his visually stimulating approach) and Mark Laita. I will be linking my own practice to their work as well as to other contemporary artists (viewed exhibitions, talks).
The second section will be dealing with the theories that underpin my own practice: noting, describing and summarizing. I will be focusing on the theories within the contemporary art context. I will take a reflective approach that will consider closely the processes of making diptychs (through putting images together and creating meanings) and this will be written in my journal. I will further reflect upon these processes, selecting and exploring what worked and what didn’t towards my intentions and visions. With my essays, in order to provide a rationale for my work, I will consider and analyse the works of other contemporary artists.
The third section will be dealing with the practical side of the Major Project. I will be taking photographs on variety of locations (urban, rural). The outcomes will then be assessed and suitable images paired into diptychs. They will then establish new meanings that will invoke further exploration from viewers.
Over period of time, I see the images develop toward more complex body of work. The critical ideas will help to select and narrow down the focus so that the work becomes readable and influential. I have previously used triptychs as a way of narrative expression and I want to continue using narratives for the Major Project as well. I also chose to use diptychs due to their juxtaposing, contrasting, describing and narrative nature. When two images are placed side by side, there is an interaction between them, which is only created and visible when images are viewed together. With my diptychs, I want to invoke people’s interest, so that they start to question and explore the relationships within and among these images. I also would like viewers to think about their stand/position on the issues depicted.
Bibliography
Ashley la Grange, Basic Critical Theory for Photographers, Elsevier Ltd., 2005
Charlotte Cotton, The Photograph as Contemporary Art, Thames & Hudson, 2004
Geoff Dyer, Ways of Telling (The Work of John Berger), Pluto Press Ltd., 1986
Ralph Gibson, Overtones, Edition Stemmle, 1998.
Graham Clarke, The Photograph, Oxford University Press 1997
Susan Sontag, On Photography, Penguin Books 1979
Susan Sontag, Regarding the Pain of Others, Penguin Books 2004
John Berger, Ways of Seeing, Penguin Books 1972
John Berger – Jean Mohr, Another Way of Telling, Granta Books 1989
Roland Barthes, Camera Lucida, Vintage 2000
Roland Barthes, Image/Music/Text, Fontana Press 1977
Robert Silverio Postmoderni fotografie, AMU Praha 2007
The first section will be dealing with the contextual and visual contemporary research. I am going to look at other artists who used diptychs in their work, mainly as means of expression. Also, I will spend time researching the backgrounds of their ideas. The main focus is to develop the project and to do that, I will be building the context for it around the following artist: Lubo Stacho (for his spiritual/ humanistic approach), Denis Roussel, Ralph Gibson (for his visually stimulating approach) and Mark Laita. I will be linking my own practice to their work as well as to other contemporary artists (viewed exhibitions, talks).
The second section will be dealing with the theories that underpin my own practice: noting, describing and summarizing. I will be focusing on the theories within the contemporary art context. I will take a reflective approach that will consider closely the processes of making diptychs (through putting images together and creating meanings) and this will be written in my journal. I will further reflect upon these processes, selecting and exploring what worked and what didn’t towards my intentions and visions. With my essays, in order to provide a rationale for my work, I will consider and analyse the works of other contemporary artists.
The third section will be dealing with the practical side of the Major Project. I will be taking photographs on variety of locations (urban, rural). The outcomes will then be assessed and suitable images paired into diptychs. They will then establish new meanings that will invoke further exploration from viewers.
Over period of time, I see the images develop toward more complex body of work. The critical ideas will help to select and narrow down the focus so that the work becomes readable and influential. I have previously used triptychs as a way of narrative expression and I want to continue using narratives for the Major Project as well. I also chose to use diptychs due to their juxtaposing, contrasting, describing and narrative nature. When two images are placed side by side, there is an interaction between them, which is only created and visible when images are viewed together. With my diptychs, I want to invoke people’s interest, so that they start to question and explore the relationships within and among these images. I also would like viewers to think about their stand/position on the issues depicted.
Bibliography
Ashley la Grange, Basic Critical Theory for Photographers, Elsevier Ltd., 2005
Charlotte Cotton, The Photograph as Contemporary Art, Thames & Hudson, 2004
Geoff Dyer, Ways of Telling (The Work of John Berger), Pluto Press Ltd., 1986
Ralph Gibson, Overtones, Edition Stemmle, 1998.
Graham Clarke, The Photograph, Oxford University Press 1997
Susan Sontag, On Photography, Penguin Books 1979
Susan Sontag, Regarding the Pain of Others, Penguin Books 2004
John Berger, Ways of Seeing, Penguin Books 1972
John Berger – Jean Mohr, Another Way of Telling, Granta Books 1989
Roland Barthes, Camera Lucida, Vintage 2000
Roland Barthes, Image/Music/Text, Fontana Press 1977
Robert Silverio Postmoderni fotografie, AMU Praha 2007
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