Evaluation

When I first received the brief for the Waste project I was a little uncertain of how I would interpret the theme, and how my work would differ from the last Commission project, as the previous themes also centred on the environment. However I soon found inspiration in the various artist we were introduced to, especially the ones working in portrait, still life and environment. After researching a few artists from each category I ultimately decided to work in portraiture, as I was most inspired by the work of Melissa Moore. I was drawn to the way in which she hid herself in various environments, attempting to blend in. I liked her photographs visually and felt that I could make my own photographs relating to waste in a similar style.

I then researched the work of Moore in greater depth, and was inspired by the sense of isolation within her images, as well as how she seems at one with the various environments she hides within. I was also intrigued by the fact that Moore models charity shop clothes in her photographs, and felt that the idea of renewing old items and giving them a second life could relate to my own theme of waste.

   

I also researched the work of Johnny Joo who photographs abandoned and dishevelled places, including buildings and wooded areas. Studying Joo’s images gave me an idea of the sort of areas I should be looking for to take my portraits in, as I wanted to create a sense of abandonment in my own images, as well as the sense that when a place no longer has a purpose, it is allowed to go to waste.

   

I then produced my own images in response to Moore, hiding myself amongst my local environments, wearing charity shop clothing of neutral tones to further blend in. I also took inspiration from Joo’s images, and in exploring local areas to set my images I found that many of the places act as a dumping ground for people’s litter, rubbish that will likely stay there for long period of time. I came across items such as discarded packaging, computers and even a disused tent. This really highlights the different between the unwanted, forgotten environment, and the charity clothing that is being given a new lease of life.

   

The next photographer I researched was Francesca Woodman. I wanted to look at other artists who obscure people in their portraits. I found that Woodman set her images it dishevelled rooms and would conceal her subjects using camera angles, composition and long exposure. I was particularly interested in how Woodman used the movement of her models to obscure their identity and transform them into ghostly figures.

   

I then produced my own photographs adopting the same techniques used by Woodman. In my own images I used camera angles to obscure my model with some of the aspects in the environment, for example leaves and overgrown plants. I also asked my model to move about, walking, spinning around and jumping in order to capture her blurred movements. Producing these photographs showed me how not only the environment, but people can be forgotten about too, leaving them to fade away. In terms of waste I was starting to think about how the theme may apply to people, for example, the idea that some people may feel that they are wasting their life, or that they feel inadequate and abandoned by others, highlighting a sense of isolation.

   

I also studied the work of Alexey Titarenko, who like Woodman also captures movement using long exposure. However in Titarenko’s images it is of the background that is blurred, due to a passing crowd creating an eerie ghostly trail. Researching Titarenko allowed me to observe other ways to obscure subject matter, and how to make certain aspects stand out in comparison. There is a sense that time is being wasted.

   

In response to Titarenko I created my own images on which I experimented further with distortion and focus. In creating my own work I explored different ways to depict the passing of time as well as the sense that my model has been abandoned and forgotten about, left to fade away. It terms of waste I had started to think of the obscured portrait as showing how people sometimes feel isolated and worthless, as if they are damaged goods or a waste of space.

   

After reviewing my previous research and photographs, I decided that I wanted to incorporate actual waste into my images, as well as continuing to distort and disguise my subject matter. I collected rubbish from around my house as well as outside in the environment, and used it as a filter, something to place between my subject and my camera. This left me with a series of distorted portraits in which my model was not viewed clearly. I feel these photographs have the strongest link to my theme, as I have used actual waste to convey the idea that people and environments can be discarded and abandoned and slowly start to waste away.

   

However I wanted to see if I could take this idea further and so began to research improper ways of disposing of rubbish, and how this might apply to photography. In doing so I came across the work of Luca Simoes, who burns images he has taken from magazines. I felt that damaging my images in this way was something I wanted to try. It would mean that not only would my concept be things wasting away, my physical image would also be partially destroyed, the image ‘ruined’.

   

In response to Simoes I printed out and burned my own photographs. I mostly concentrated on burning out my model face, removing her identity and distorting the picture further. I burnt ten photographs in total, and decided that I would use the most successful ones as my final images for the Waste project. I ultimately chose six images to display in the Zandra Rhodes Gallery.

   

In terms of gallery space I have decided that I would like my images to be displayed in A3. I feel that at this size, the more intricate aspects of my prints, for example the puckering of the paper and the slight cracks where the flames have marked the surface, will be easily visible. I feel that if my images were any bigger than A3 these intricate areas would be lost. My images will be presented in frames and hung on the walls of my exhibition space, three images on each of the two side walls. I would like my work to be in frames as it means that the burned texture of my prints will be visible. If my images were to be transferred to canvas of cork board they would lose the physical element of my paper, and the way that it has been subtly altered by the heat and fire. I also feel that keeping my images relatively small in the vast gallery space is suggestive of objects being forgotten and going unnoticed, relating back to the theme of waste and the idea that discarded things are often left unseen in the environment.

I have decided that the frames will be wooden and entirely white, allowing my photographs to stand out and be the focus of the exhibition. The frames will not be cropped close to my prints, but have a large white space which will surround my photographs, allowing them to be separated from the wood of the frame, and to be viewed on their own. I imagine the white backing behind my photographs to be A2 in size, with the frame made to fit around it.

My pieces will be evenly spaced. Five of my images are landscape, however one is portrait. I plan to have the portrait frame on the left hand wall, positioned between two landscape frames for a sense of balance. The other three landscape pieces will be evenly spaced on the right hand wall. I feel that this will work well considering that there is a set of double doors towards the bottom of the left hand wall, and so having the portrait frame on this wall will mean there is more space for the three images, where there would not be with three landscape pieces.

Finally the back wall of the Zandra Rhodes Gallery I will have the title of my work (Waste) printed across the wall, as well as a brief statement underneath it in the centre as to what my concept is and how it relates to the theme. I briefly considered having mannequins display some of the charity shop clothing I bought and photographed, however determined that this would be too much for the space, and that I would risk distracting viewers from my actual work.

       

Overall I feel that I have interpreted the theme of waste successfully and have produced work that is strong conceptually as well as visually. If I could further expand on this project I would consider actually abandoning my printed photographs to witness the effect this would have on them. For example I might find places to burry my photographs, and leave them for a week or so, to see what effect the earth and weather had on the surface of my print.