The Proposal

Below is the proposal I recently submitted for the Photographic Practice module. It's rather long for a blog post - the first part explains the theoretical approach and reasoning, the second half goes into detail of the practicalities of producing the work. If you want to know simply what I will be doing, and see sample images of those intended projects, then scroll down to the 'Plan/Schedule' heading.


Name

‘Gorgeous’ George Rippon

Title

Me, My Reflection and Him

or

The Self-indulgence of Gorgeous George

Description of subject to be investigated

I am interested in the persona that we present in order to display our desired qualities. Our relationship with our reflections and the images of ourselves that we experience, are significant in the conscious creation and adjustment of this public self. I’m seeking to examine the response of the individual to their awareness of their own absorption with their presented image. This response includes self-mockery, self-indulgence, narcissism and an admittance of a need for recognition. Moreover, I’m interested in the manner in which this performance is continued, and what relationship then ensues between the ‘reflective-private' and the ‘performed-public' selves.

Context

“I love acting. It is so much more real than life.” Oscar Wilde

Within the field of self-portraiture there has always been some kind of exploration into identity. Because we are aware of the capability of an image to depict (in the case of portraits) a person’s character, we are then conscious of the level of performance that manifests from the subject. Since in self-portraits the artist is both subject and creator, there is often an analysis and manipulation of the performance from both angles. When artists use self-portraiture to question the different versions of presented ‘self’, their approach is fundamentally relevant, due to the insight they hold of ultimate knowledge and access to the subject.  

The following practitioners form the context to this study because they are engaged in the variance that exists between a conscious performance and a natural behaviour. The works of Cindy Sherman and Yasumasa Morimura, are concerned largely with masquerade and elaborate performances; however, in consistently using themselves as the subject, there is an element of their own character underlying their play-acting. Alternatively, Nan Goldin’s The Ballad of Sexual Dependency, and the collaboration of Patrick Tsai and Madi Ju’s My Little Dead Dick, are both strongly autobiographical works, although a sense of performance (or the possibility of) to the camera can be inferred. Claude Cahun’s work has a strong case for illustrating the perpetual (and destined to fail) efforts of artists to discover their true self behind recognised personas: “Under the mask is another mask, I will never finish lifting all these faces.” (1930, cited in Bright, 2010). Anita Khemka obfuscates what is staged and what is spontaneous by taking her self-portraits in public places, allowing the environment and people around her to contribute to the result. Bas Jan Ader appears to give the rawest insight into his personality in I’m Too Sad to Tell You, and yet by using photography and video to document his expression, still leaves the viewer questioning to what extent his behaviour is genuine or performed.

The following issues are also relevant: the philosophical debate of the notion of ‘self’ – suggested to be an entity that merely perceives (Hume); the psychological arguments concerning the ego and alter ego (Freud) and the ego, other, Other, and subject (Lacan); the anthropological discussion around the use of webcams and Youtube for self-performance (Wesch).

My standpoint on this investigation is an inquisitive one, attempting to unravel and perhaps ameliorate a complex I have with my continual introspection: I’m always thinking about myself and wondering why.

Plan/Schedule of work

1.      1. A set of self-portraits using a two-way mirror, so I look at and interact with my reflection rather than a lens, but line up the eyesight to give the impression of a straight portrait, aiming for high clarity and minimum background detail (similar lighting and composition to Emma Sailah’s  Mirror Mirror). I will then re-enact the extreme facial performances as done to the bathroom mirror - to investigate: my altering of presentation; relationship between inner (thought) and outer (visible) selves; attempting humour; challenging attractive appearance.

‘Hannah’ and ‘Minh Ai’ from Mirror Mirror by Emma Sailah. 

Test images using normal mirror with a hole in its centre for the lens. One diffused light above camera. Poor focus is an error, background will have no detail, composition is suitable, lighting needs to improve. Images ©George Rippon. All Rights Reserved.

2. A similar process to above, with others in front of the mirror – where I photograph them attempting to copy my extravagant facial contortions, as a means of continuing the humour, and exploring the universality of the face (relevant to physiognomy). Perhaps also ask them to photograph themselves, to make their own self-portraits, with cable release or remote – to see how they respond given the opportunity to present a desired look.

3.      3. As a continuation of my Self Videos, produce a regularly updated diary of webcam performances - displaying a general indulgence of trivial aspects of my personality, experiences, thoughts etc – investigating further the desire to be celebrity/revered/known through attempted humour.

Self Videos (still)

Forehead Letters (still)

4.      4. A self-portrait of pixels (I can't paint) – using a mirror, and Adobe Photoshop – ‘painting’ with various colours, various brush sizes, producing several pieces – forming an overall progression, striving towards a realistic portrait (eventually looking like a photograph). Inspired by the Johannes Gumpp painting of himself in the act of painting a self-portrait (likewise Norman Rockwell’s Triple Self-portrait), I plan to investigate in what manner and with what adjustments I will reproduce my image.

Self-Portrait with Mirror and Canvas by Johannes Gumpp

Pixel-Painted Self-Portrait #1 and #2

Making of Pixel-Painted Self-Portrait 

5.      5. I’m a ... (artist) - a series of videos in which I attempt to prove my creative multi-talents (musician, actor, painter, etc.), but which ultimately highlight myself as a failure and fool, wanting appreciation – inspired in part by Bjorn Veno’s promotional videos for PXSnatch.

6.      6. A video piece based on my Body (own) collage where each image is moving rather than still. However the movement will be very subtle, aiming to give the impression of a still image on first glance, and then following with the realisation that the body is moving/breathing/alive. Similar motive to the original piece – to present own body in unflattering manner – but with heightened representation.

Body (own) 

Body (own) (still)

Audience

·      Fine art/gallery community – aiming to attract attention at exhibition in London held during a week where photography is highly popular in the area due to degree shows. This to be at a gallery (The Rag Factory) which is establishing itself as a popular venue at the time of these events. The intention is to involve other established practitioners, to elevate the exhibition above a student degree show and encourage a larger footfall, and also the potential to make connections with curators/gallerists etc. There is the chance of the exhibition being reviewed owing to the supporting factors above, which will further enhance the publicity. Additionally, there has been a recent growth of interest in contemporary self-portrait photography with the publication of Susan Bright’s book Auto Focus.

·      Online – a personal blog, George Rippon Photography which is updated regularly with latest work, ideas and research; combined with a Twitter account as a means of spreading the work to a remote audience (aiming to increase interested following, particularly those based in London in lead-up to the exhibition). Utilising social media to present and build up a recognised brand name – YouTube channel, Twitter account, and a video blog, all as ‘GorgeousGeorgeo’.

·      YouTube viewers – humour is popular, short videos, a homemade aesthetic is well accepted. There is a potential to go viral, although this seems to be down to chance and is very much a snowball effect. If popularity is found on YouTube, then considering the nature of the project and its delivery, an interest could follow from the fine art community.

·      Academic – as the project is based on the reflection of photographic imagery in self-portraiture, its content may be relevant in the study of photography theory/behaviour. There is also a relevance to research in the fields of philosophy, psychology, anthropology and other areas in which the notion of ‘self’ is questioned.

Anticipated method of presentation

Gallery:

·      Two-way mirror project (1.) – large prints of oversize face, to give impression of “Ah it’s a big face!” – so as to show off their absurdity, and impress/oppress my image upon others.

·      Potentially include a two-way mirror as a means of involving the viewer. Place a large rear-projected print behind a two-way mirror, with the projection light triggered by motion (similar to a burglar light) so an apparent mirror turns into a picture as viewers pass.

·      And/or a video camera concealed behind a two-way mirror, with the footage output delayed and shown to the side - so people can play to/with their reflection and then view it moments after.

·      Video projection – of selected ‘self-videos’ (3. & 5.).

·      Medium prints (40x40cm) making a progression piece of pixel-painted self-portrait (4.).

·      May have smaller prints of mirror portraits of others (2.).

Online:

·      Blog of videos (like diary updates) and a YouTube channel – refer to Ask A Ninja/What I Wore Today – comical, intending to have the potential to develop a mass following.

·      Simple web gallery of mirror portraits (one for self-portraits, one for others) (1. & 2.)

·      An interactive view of the pixel-painted portrait, with a slider so it can be quickly seen how the portrait developed. See Girlpower –Retouch  

Budget/Resources required.

·      Two-way mirror – £44.48

·      Wood and construction materials for mirror stand – £40 - £50

·      Construction tools and assistance – provided.

·      Loan of Hasselblad H3DII with 50mm lens from Calumet for 2 days – £530*

·      Prints for ‘Two-way mirror’ project:

Option 1 – 3x 110x110cm prints on fibre based paper, mounted on 5mm Foamboard (from The Print Bureau, Coventry) at £69.58 ea = £208.74.

Option 2 – 3x 101x101cm Giclee prints, mounted on DiBond with battens, and acrylic seal, incl. delivery (from The Printspace, London) at £326.54 ea = £979.62*

·      Prints for ‘Pixel painted self-portrait’ project:

Option 1 – 6x 40x40cm prints on resin coated paper, mounted and laminated on 3mm Foamboard (Print Bureau) at £8 ea = £48

Option 2 – 10x 40x40cm C-type matt prints, mounted on 3mm Foamex with acrylic seal, incl. delivery (Printspace) at £63.68 ea = £636.80*

·      Blog space and YouTube channel – free.

·      Web domain and hosting – already owned.

·      Projection equipment with audio – provided.

·      DSLR camera, studio space, lighting equpiment – provided.

·      Video camera and editing software – provided.

·      Normal mirror, Adobe Photoshop software, Apple iMac desktop computer incl. webcam – already owned.

* indicates a non-essential but ‘ideal’ expense.

Total minimum (essential) budget: £341.22

Total maximum (ideal) budget: £2,240.90

Some additional images relating to the 'context' section of the proposal:

Self-Portrait on the Rocks, Levanzo, Sicily by Nan Goldin

Claude Cahun and Marcel Moore by Claude Cahun

Travelling by train from Bangalore to Mumbai by Anita Khemka

I’m too Sad to Tell You by Bas Jan Ader

A Life in the Day

This is my final submission for the #phonar module at Coventry University. It is in two parts: firstly the above video which is a story of a man called Uriah John Lee - my great-grandfather, and secondly a piece of writing about the same man, which is below. This text has been uploaded to hitRECord.org in the hope that it may become part of a collaborative production, and can be viewed here. The photographs of the archive can also be viewed in this gallery.

He stood in front of the camera and glanced down to make a last check of his uniform. It was all in order, just as it had been a minute before, when he was waiting his turn to be photographed.

Fixed up behind him was the scenic backdrop – a painted image depicting what appeared to be an officers’ camp from the Boer War, or some other colonial crusade – supposedly there to impress some notion of military prestige.

“Hold still.” muttered the photographer.

He straightened himself – unsure whether to stand at full attention or at ease, and settled between the two, then held his gaze on the lens. A gentle click told him the picture was taken, and the photographer emerged from under the hood.

“Thank you Sergeant.”

He nodded and walked away down the road to where the men of his platoon had been watching. They had been temporarily stationed here – in some smelly French village whose name none of them could pronounce – waiting for further instructions.

“Nice picture eh Sarg?” called out Butler, grinning at him as he approached.

“Hope so.” He replied, inclining his head to the private.

Looking around at the 53 men gathered there, he saw many of the others were also grinning. They had grown to like him he supposed, and he had grown to care for them in return. From early on in training, after his promotion to Sergeant-Major, he had taken a personal decision not to command those below him with the same severity and unjustified harshness that many of his contemporaries deemed proper. Instead he had sought the men’s respect and discipline, through friendship. And they had proven to be as reliable and ordered as any other platoon – although they had not yet been in a live combat situation.

“Are you all ready to move out then?”

He addressed them casually, as he reasoned it to be acceptable when not in the presence of officers.

“Ready and Willing Sir!” jumped up corporal Browning. The men cheered their agreement.

“For King and Country” many of them called out. There was excitement around the Company today. Orders had come from up top, and it looked likely that they were to move out soon.  

“Good.” he said quietly once the cheers had died down.

But beneath his assured exterior, he did not feel that it was good. He turned to stare at the eastern horizon, and listen to the faint but steady rumble of the guns. He did not share the same eagerness as his men. This adventure – once thought to be ‘over by Christmas’, and now two and a quarter years later, still raging on – did not hold the same opportunity for thrills as when he had volunteered. The mutterings of incompetence and misjudgement of High Command, the unpredicted high casualties, the rumours from the upper class of a government at a loss with its war effort, the growing misgivings of a nation.

His thoughts were broken by a stirring amongst the men, as several officers emerged from the quaint cottage that was serving as Company head quarters. He walked forward to meet the Captain who was approaching their platoon.

“Sergeant Lee?” inquired the Captain.

“Yes Sir” he replied, saluting. The Captain returned the salute and then offered his hand.

“I’m Captain Gray. Number five platoon has been assigned to me. I’ve heard you’re a solid bunch.”

“We aim to do well Sir.”

“Good. Be ready to march in ten minutes.”

“Sir.”

Gray said no more, and strode off. Sergeant Lee assembled the men. He could sense them buzzing with anticipation as they lined up. He walked amongst them, checking gear, reassuring some, quietening others, and then fell in beside them, aware of, but not entertaining, his own trepidation. On the Captain’s call they began their steady march to the front.           

by George Rippon    

Film Review 'Accident'

I've become a bit of a regular attendee of the Coventry University East Asian Film Society. They make a point of showcasing some of the varied original cinema of East Asia, rather than the typical Western expectation i.e. martial arts and anime. They also hold a review competition, in which I recently partook after their latest showing of Accident, and successfully won. Please read below.

By all accounts this is a relentlessly tense film, delivering an original plot, and making evocative use of attractive compositional photography. It is also very refreshing to have such a succinct screening, which I believe strongly contributed to the power of its tension.

The film follows the ingenious (and sometimes unbelievable) exploits of a group of assassins, who succeed in posing every murder as a freak accident. When it seems that they have fallen victim to a similar scheme, the leading character Brain, takes on an intense and unforgiving search to discover why they were targeted, and who by. Delivered as an intelligent and uneasy thriller, this is a film which engrosses the viewer with mystery, conspiracy, and fear – aided by its clever application of cinematography.

I do feel however that the film lacks something, and I think it is character empathy. If we take it that one of the basic aims of cinema is to convince the audience of a story, and of the characters’ plight within that story, then I think this is where 'Accident' slips a little. Think of Fatty’s death – the audience could have benefited from some more character developing scenes, so as to encourage more sympathy towards him. Such scenes, or even moments, could be added without damaging the film’s tight edit. In cinema, a lot can be conveyed in very little time. These scenes would help to break up the continuous moments of tension, and provide more of a balanced pace regarding the suspense of the film, as well as involving the audience with the characters on a deeper emotional level.

However, it may well have been director Soi Cheang’s intention to keep this film almost entirely plot focussed (after the initial scenes, the story solely concentrates on the protagonist’s relentless drive to solve the mystery) in which case it should be regarded as a very intriguing piece of cinema, with its challenge to the etiquette and expectations of screen delivery.

By George Rippon

I'm keen on cinema, and having the opportunity to write about it critically and then receive appreciation, was very encouraging. I intend to continue.

Thanks to Coventry University East Asian Film Society for screening this and many other excellent films. http://mcopenmediacoventry.org/cueafs/

Storytelling

"Photography is a language that I have some ability to use. I want to tell a story, but I've always loved making images, and photography for me seems the best way."

Tom Hunter came to talk at the university the other day. It was very exciting to see many of his less published photos, and hear his motives behind his work.  He mentioned storytelling, and someone asked (being that he stages his photographs with great precision) if he considers himself to be more of a storyteller than a photographer. His response was the quote above, preceded by informing us that he attempted writing and found he was no good at it. I enjoy writing, and I'm not to shabby at it (I hope). And I like the idea of telling a story. Not photo journalism, not a news story, a story story, one which will be appreciated for its tale. Using photography as a language, but why not use writing too - if possible. I'm not sure, but I think that elementt of storytelling to photographs might be what keeps me really drawn in, that might just save photographs from becoming boring, limited, and flat for me, (as they so frequently are). This needs more thought.