Exhibition Layout for Photo Synthesis Coventry

My work will be exhibited as part of the Photo Synthesis degree show (see the website here), which will have two showings – one in London and one in Coventry (see the events page here).

For the Coventry exhibition I have decided on the following selection and layout of work. Three prints from the two-way mirror work – the third a contact sheet of selected images from the shoot, and alongside these will be the two-way mirror video camera delay installation (click to enlarge). See also the photograph in the 1:15 scale model gallery.

Note that this is primarily just a display of the work relating to the two-way mirror project, rather than showing all aspects of the Self-indulgence of Gorgeous George project. The reason for this, is because for this particular show I feel it is better to deliver less with greater clarity, rather than more with the higher chance of incoherence. Also there is an issue of limited space in the Coventry gallery. In London at the Rag Factory there will be more space, but also that exhibition (with the inclusion of other artists and photographers) will have wider range of work, and I think be more accepting of a 'mixed' showcase. And hence I will be able to physically exhibit the Pixel Portraits and Gorgeous Georgeo videos in that space, as well as the Two-way Mirror images – in other words, the complete project. 

Above is a pencil sketch of the full exhibition (how my work will appear in London). Note that the two-way mirror work is essentially the centre piece of the show, with the pixel portraits and video blog adding depth to the two issues of mirror-image and self-indulgence, respectively.

Final Edit Decisions

The selection process with the two way mirror work for this exhibition, was very challenging. The best approach was a step by step one. I knew I wanted the faces to appear oversize – to give impact to the impression they would have on the viewer – I arrived at a size close to A0, about 46 inches wide by 30 inches high. With the available wall space this meant I could have three prints. I felt that the best way to utilise these three and still deliver the meaning of my work, would be to have two as individuals – to give the 'big hit', and one as a mix of several images from the shoot – to give a description of the variety of poses and expressions produced. 

For this mix print I had to decide carefully about the number of images to use – too many and it would become a large pattern and be awkward to read individual images, too few and it would fail to highlight the rich variety of the facial performances. After much testing and imagining with dummy prints, I decided on a 5 by 5 grid. I also decided on no white borders and no frames, as I wish to display the photographs as directly as possible – I feel that there should be more emphasis on the content of the image, than the prestige of the print. 

To then choose these 25 for the mix print, I had to start and edit down from the 100 or so that made up the whole shoot, this was a simple case of whittling down those that were similar, those that were a bit placid etc. I was also keen to include some of the more varied poses (inclusion of arms, twisted faces etc.) in order to break from the repeat view of straight-on head and shoulders, and keep the overall image 'fresher' on the eyes. Following this was then the matter of choosing the two images to be printed as individuals at full size. The emphasis I placed on this decision was balance – I wanted a pair which suggested both humour and extremism, and which were different enough whilst still remaining related.

The Curator Calls

The 'Picturing the Body' module is drawing to a close soon (officially that is) and in the following few weeks I'm thinking of curating some of the work together into something of a collective piece. At present I'm thinking this will take the form of an online print-on-demand book/catalogue/magazine, most likely using a company like Blurb, also with an online version that can be passed around quite easily. Considering that some strong work has been produced both within and external to the university it seems to me worthwhile to try and bring it together, and have something significant of this project as a whole.

So to all Picbod contributors: please feel free to send me your work for consideration (use email on this blog, or add a link with a comment). This could be your selected final images; or your 'best of' from the weekly tasks; or if there is just one theme which you've been following strongly then send that; basically anything which you feel confident about, and which you feel is relevant to the picturing the body module (image sizes of around 1-3MB should be fine). Obviously spend some time 'editing down', I can't look at everything, I'm only human! I have been going through the links from the picbod post on the New Photographics blog and plucking out images of interest to start making a rough edit, and getting an idea of what you all have to offer.

I'm also open to receiving writing pieces for the book. This could be writing to explain your own work, or to discuss the themes it focuses on, or it could be writing on the themes in general as discussed and lectured on during the module, or it could be writing on someone else's work within the module, whatever has moved, intrigued or excited you whilst we've been doing this project. Probably best to keep this fairly concise, say 250 - 1000 words approx.

Please note their will be no positive discrimination to those in the university or those who are my 'mates'. The work will be biased in the sense of my 'curatorial opinions' as to what will go towards a strong collective piece. This means that some people's work may feature more than others, and some may not feature at all. I think it is better to have a collective piece which speaks strongly of the module and this collaborative project/exhibition overall, rather than assigning everyone an equal space in the name of fair. Having said that, I would hope that all those who have been engaged with the module will have a place in this piece.

Hope to hear from you soon.

Thoughts on Ross Rawlings' Photography

Currently studying a masters in photography at Falmouth University, and a recent graduate of Coventry, Ross Rawlings has been a keen participant of the 'Picturing the Body' free online course. His work can be seen here.

I followed Ross's work online as he went through the 'picbod' course and tackled each of the weeks briefs. There was some positive and engaged discussion on his week two work, which inspired me to write this comment piece, however I've waited till now to write it, because I wanted to see where Ross would take the work (also gives me more material to discuss). So for week one he started with some clearly considered environmental portraiture, demonstrating confidence with his process of engaging people for the camera. It was encouraging to read about.

For week two Ross made use of his method of coupling to the purpose of "creating a narrative, and an image that leaves a lot of questions unanswered." The work was responded to well and lots of talk was taken up around this idea of narrative. Personally I think narrative is not quite the right term, I think of it rather as 'suggesting'. A connection is suggested across the two images, the light leads me to think it is something ethereal or dreamlike. The narrative is to come later, with a greater number of images, when more can be inferred from the work. That is my take on it anyway, it's a term which is banded around quite a lot in photography and open to varied interpretations/uses.

There is no doubting that Ross's technical ability is flawless. He has developed and identified his own style of light – the best word I can think to describe it is 'pearlesence'. And I find his posed photography, where he locates, controls and utlises this light, to be most striking. There is a distinct emotive feel which runs through this work, I struggle to pin it down, but (as others have identified) I can relate it to Rinko Kawuchi's photography. I had a go at arranging some of my favourites. 

In the week two comments Ross mentioned an open narrative and leaving interpetation to the viewer, he then expressed a desire to present a clearer narrative. Seeing as he has now achieved a succession of strong work which is identifiable to his name, I wonder if this can be done. If he can bring together a body of work with meaning behind it, open-ended or resolved.

All images ©Ross Rawlings 2010, taken from http://rossrawlings.wordpress.com/