Posted in 15 Landscape as a call to action, Coursework

Exercise 3.4: A persuasive image – Part Two

Consider an issue (social, political or environmental) that you feel strongly about. Design an image that you think will have a persuasive effect upon a viewer. This could be a deliberately rough photomontage or something more polished. You don’t necessarily need to make the photograph or tableau; this is an exercise in generating ideas, thinking about communicating an idea and taking an ideological standpoint. Annotate sketches and any other work and enter it into your learning log.

I decided to create a poster for the dissapearance of tigers. When I was younger I was quite the Eco warrior and very passionate about saving the world, I still am but back then I made my own posters and everything. I remembered one I had made from that time and decided to recreate it in Canva.

Dissapearing - Chloe.jpg

As the words dissapear so do the tigers. Which will be gone first? The words fade into the background and eventually dissapearing into the dirt the way the tigers may one day. Dust to dust. I experimented with the words covering the tigers face but this wasn’t as effective as the two were distracting. Composing with only half the tigers face reinforces the dissapearance and the fragility of their future. I wonder if the poster could be strengthened with the use of a caption.

‘How many will we lose before we choose’

‘Choose or lose”

“How far will you let it go.

‘By the time you read the final words it will be too late.”

“Which will be gone first.”




Posted in 15 Landscape as a call to action, Coursework

Exercise 3.4: A persuasive image

Find three examples of landscape photographs (or the collective efforts of a set of photographs) that are being used to assert a particular ideological point of view. Look at images that have been used in advertising or other commercial applications, as well as within fine art and documentary photography. This might be a very explicit message, or something a lot subtler. If text is used, consider how this relates to the image. In your learning log, make some brief comments (around 300 words) describing how the photographer or designer used the photograph and how the image communicates its intended message.

When I read the brief one image sprang to mind, a symbolic image created by the WWF that I had reviewed earlier in the course here


The image doesn’t lurk in the background of the mind, it doesn’t use hidden meanings to illicit a response, it slams into the viewer with all the subtlety of a sledge hammer. The mind acknowledges you are looking at a forest, but instantly the shape is of lungs. The forests are known as the lungs of the world yet the charred, rotten corner where deforestation has taken place grips the viewer, you can see it is due to deforestation but it is more powerful than that, just as these lungs on a human could mean death, so could this cancer of the earth. The death of the forest. The depiction of lungs brings it into comparison with humanity, the forest as a living creature that is being savaged and ripped apart and it implores you to help. For me it brought me back to a time when I was at a science museum in Scotland and saw a smokers lung savaged by Cancer. As a child that was quite a shock and that same response is felt here. The orange stands out, a rotten part of the forest that could soon stretch to engulf the entire organ polluting the rivers, the veins of the lung. Despite the fact that it’s photo manipulated, this doesn’t come into effect, the pure unaldulterated emotion cries out to us, it screams! You can hear the forest screaming in your head. And that is where the power comes from, it generates a guilt feeling. It’s one thing feeling the emotions the photo had intended to provoke, but how easy is it just to walk away. The tag line is the final slap in the face, or a hand reaching out to you, “Before it’s too late.”  This is subtle. It doesn’t initiate the usual paragraph of ‘this is up to you! Help save the planet, save your home.” It doesn’t ask for help. Instead those simple words grab you in a way a paragraph of pleas could never do. It is a plea from the forest directly to you. It’s almost a choice, you don’t have to help but won’t you feel a terrible human being if you do look away.


Jennifer-Bolande-hed-2017-840x460Billboards and advertisements are everywhere but to find them near places of beauty  tarnishes the landscape and detracts the eye. The artist Jennifer Bolande changed the billboards to scenes of the mountains and landscapes around the billboards.” By placing images of the environment beside the roadway Bolande hopes to point passersby back to the landscape itself. ”


On the Tate Gallery website I came across this image.


At first I assumed it was a quote image, featuring a beautiful scene with equally moving words. The type you send to loved ones or use as a wallpaper on your phone. This image seemed similar evoking the same emotions, a scene so pure and natural it seemed almost like an image of a fantastical land, grass waving in a gentle breeze. I expected it to be like one of these images. And the appearance echoed with harmony.

df9d1c1a0f2cb13ba9e92f1c4e9450d3--your-beautiful-quotes-inspiration-youre-beautiful-quotes.jpg 5275c670907a0801f9ac7ce08bb47dae--beautiful-hearts-a-beautiful.jpg helenkeller1.jpg

Then I read the words and suddenly the image took on a much different darker twist. Beginning with words evocative of the photo, “The music from the balconies…” it feels like you’ve been taken back to Tolkein’s world and you can hear Elves and other beings. Then the tone switches instantly, “overlaid by the noise of sporadic act of violence.” The image and the words don’t match, it grates against you as they are each a stark contrast of the other, beauty and violence, together seemingly beautiful yet fractured. It makes the viewer ask ‘why?” “what is the violence’ The words are taken from the novel by J G Ballard and features a high rise building that splits and gives rise to violence acts and strange happenings but for me it is the clash of the painting by Ed Ruscha coupled with the unfitting words that capture the imagination and say very clearly they don’t belong together. Two opposite poles of a magnet fighting against each other and invoking the viewers response.  The Tate writes “For Ruscha, ‘the phrase was a powerful thought coupled with a pictorial idea that ends in a gentle kind of clash’.”


Posted in 14 Mark of conflict and 'late photography', Coursework

Exercise 3.3: ‘Late photography’

Exercise 3.3: ‘Late photography’

  1. Read David Campany’s essay ‘Safety in Numbness’ (see ‘Online learning materials and student-led research’ at the start of this course guide). Summarise the key points of the essay and note down your own observations on the points he raises.

Imagine the scene, you’ve turned up late for a house party, everyone’s gone home and those who haven’t are sprawled comatose on the couch or are drunkenly snoring in an empty bath, bottles are smashed and strewn around on the floor wrapped up with streamers, the buffet table has been scavanged, just the bare bones of food left, presents open, wrapping discarded, shredded and cast around. These images are a typical scene for Late Photography. They are what happens after the event, an event in themselves in the stories they have to tell and the emotions they reveal. Of course in the context of the article Late Photography is described in relation to journalism, and most often terrible events but also to more generic events such as a football match or a wedding. David Campany describes the photos as evoking a numb feeling akin to that of a slow motion scene in cinema and being more powerful in capturing the emotion of the event than moving footage such as news reports. When I was reading the article I could feel what he meant. What is more powerful, a building on fire or the charred skeleton of the foundations? To go even further, I feel the powerful images of Late photography are those that evoke an emotional response. Again, which is the more powerful, a burning building, or an ashen teddy, an empty house or a crumpled family photo with echoes of a lost future.

In the past words and illustrations would document such events, then photography and and finally moving footage. Yet now we found ourself in a place where the photo is more powerful than the actual footage. One captures the mirror images, the other captures the emotional and human response and that moment where everything is still. I think back to a time when I got a shocking phonecall telling me someone was ill. It turned out to be ok but at the time it was pure fear. I hadn’t answered the phone but just the expression of the person answering the phone is enough to put you on edge. I was in a crowded cafe and the noise had been deafening but the sound just blurred away as though they were suddenly so far away. I remember my eyes fixated on the other person, the world in slow motion but my mind on overdrive. Everything felt numb, I wasn’t aware of my actions and as I stood up I clumsily knocked a mug of coffee over my art work and the floor. I feel that Late Photography captures this feeling, it’s a moment where the world stands still, everything fades around you and it’s just you and the image and the emotions evoked. It’s also a form of respect, standing attention seeing these images (if it’s of a terrible event) “It’s very muteness allows it to appear somehow uncomtiminated by the noise of the televisual.”

Campany wrote of a type of Late photography where the viewer is left to piece together the story, allowing their imagination to fill in the gaps that have been left intentionally blank. In that sense the photographer is like a writer, telling the story, allowing the viewer to interpret it, turning it almost into a game to solve ‘who dunnnit it’ I think they should only be used in this way to document or to inspire change, to describe ‘sombre melancholia’ as being ‘seductive’ is very distasteful and is disrespectful for the poor souls caught up in terrible events.

An interesting comment was made in the article that I felt especially drawn to. “Stilless only became the defining characteristic of photograph with the cming of mass cinema and it’s newsreels…it was the invention of stillness as a sort of by-product.” Of course photos had always been still but it wasn’t until the influx of moving footage that the stillness of a photo was truly appreciated as suddenly photography had something to be compared too. Moving versus still and that is where it’s magic comes from.


2. For personal reasons I’m not going to complete part two of this exercise as I find such images extremely disturbing. Instead I looked at Rodger Campany’s images ‘The Valley of the Shadow of Death’ and Paul Seawright ‘Hidden’ as shown in the course materials.  Screen Shot 2017-10-09 at 11.44.56.jpg

His image focuses on the afterath of the event. There is such a stillness and emptiness to the images, the image contradicts the mind filling in the gaps of the people fighting and dying here. Your mind sees one thing and fills in the gaps, tells itself the stories, but the eye can not physically see that, instead they focus on the utter desolation and emptiness and the two link together to generate such emotions of war, the waste of life, the injustice and the emptiness and stillness left behind.

Posted in Assignment 2 ~ A journey, Coursework, Research and Reflection

Tutor Feedback – Assignment Two

I had a great Skype session with my tutor, Les. My assignment was recieved very well and the majority was positive with the emotions and meanings evoked and also the ambiguity of the meanings relying on the viewer to interpret, He described some images such as the man in the smoke as ‘really quite disturbing’ bringing dark connotations into the mix of terrible people, evil lurking in the darkness and the vulnerability of a young woman in the dark woods coming across this man. Les also described the accompanying poem, that I wrote, as having the same value as the photos which I was very pleased about. We discussed how one walk could bring to light such stories. He also liked the fact that the images were all taken on the same day as the light was consistent throughout which reinforced the idea of a journey.

There were several main points we discussed.


We discussed the effect of typography in a photographic essay, or more the effect of unsuitable fonts. When I added the poem I used a generic font focusing more on the words and the effect of the reverse out writing rather than concentrating on the shapes and the effect the typography offered. Les described it as a viewer, how one would look at the photos, be moved or drawn in, then the poem, reading the words; if the typography is unsuitable then another element takes the viewers attention, the shape of the words, which may be beautiful to study yet takes away the value from the images. I have written a piece of literature and Les said he wanted it like a book, like literature. There shouldn’t be any half way point such as italics to replicate handwriting. If it’s to be handwriting it should be actual handwriting and vice versa.

He showed me examples from his bookcase where the photos had been captioned in his wife’s handwriting compared to one which had a standard comic sans font which drew away from the images.

I will experiment with how the text influences the photos by using a font such as Baskerville and also with my own handwriting. Though I’m not sure how I can use the reverse out with such a method.

Human inclusion

Assignemnt Two Eight
There was a soft stillness And I felt it all around I felt it in my heart, my mind And thrumming through the ground

Les discovered a small figure in the distance in a pale blue shirt who immediately detracted from the images. He said, “Once I’ve noticed him, he’s all I see and I really want to live in this thing, read your words and live in that space.” Though not usually advocated by Les we decided to clone the blue man out as he acted as the punctum, yet not in the manner intended or desired.

The man in the smoke

I passed through a lonely place Where so many would feel fear Yet all I felt was comfort And I felt them all grow near. And as the ashen smoke rose And stained the bright blue sky They mourned their fallen families Those who they had watched die. So many of us may be scared Of walking through the door They may fear the forests But the forests fear us more

Les described the image as ‘disturbing’ and spoke of the dark connoations the image evoked in him. “We know they (people) exist as you are there but it makes it more of a shock that he is looking directly back at you.” In his own work there was such an image of a man looking directly at the camera and it was argued he should remove the image as it detracted’ We had a long discussion about the pros and cons of removing him but the image evoked such feelings that he recommended keeping it. I also felt it was the powerful image in the set as it’s so unexpected this man in the forest and the threat or help he may offer the protagonist and in that respect, the viewer. The answers are dispersed in ambiguity which is where the power of the series lies. Heliked that the photos would generate one response which was swiftly changed by the words so he wasn’t sure if it was a positive journey or something dark.

He also wrote of the final part of the poem before you see the man, the words ‘danger, family, bright, die, scared, fear’ and how they contribute to the shock as you turn the page and see the man staring at you. Almost like a jump scene in a horror movie. Interesting as I likened the winding path to the scene in the Shining where the viewer is taken around the long corners and never ending corridors. ‘implied threat…say you’re not there but it says your name under it, well suddenly there’s a man in the forest and the author is a women, there is an implied threat. But suddenly your words

The exit sign


Les wondered if the exit sign was too ‘heavy handed’ a little too symbolic to those who haven’t done the research

The Danger sign

Assignment Two - Three
For every corner that I passed Another would surely wind There seemed to be no end of it The labyrinth of the mind

Drawing on our dicussions of typography, was the Danger sign too obvious, did it cut the ambiguity with it’s direct reference to something dangerous instead of it being clouded in mystery?

I will think about the inclusion of these signs though I would need another element that acted as punctum.


Overall it was a great discussion, I feel I have completed the assignment to the best of my ability and now will continue with the next part and research Typography. For the next assignment we are trying a different approach and instead of sending Les the completed assignment I will treat it as though in a physical University where you would go in ever week and work on the imaes. I will send him some photos, outline some ideas and then discuss that in depth.

Posted in 13 The tourist perspective, Coursework

Exercise 3.2 Postcard views – Part Two

  1. Write a brief response (around 200 words) to Graham Clarke’s comments above. Do you think it’s possible not to be a ‘tourist’ or ‘outsider’ as the maker of landscape images?

“… the landscape photograph implies the act of looking as a privileged observer so that, in one sense, the photographer of landscapes is always the tourist, and invariably the outsider. Francis Frith’s images of Egypt, for example, for all their concern with foreign lands, retain the perspective of an Englishman looking out over the land. Above all, landscape photography insists on the land as spectacle and involves an element of pleasure.”


Images of exotic places abroad were only in the populations imaginations or captured through drawings in books or perhaps not even known only a few hundred years ago. Yet with the rise of photography, suddenly these images were brought to the masses connecting them to far away places.

The idea of tourism was first created in the Roman days when areas of interest were created and whole villages were built up around them thus creating the first ‘tourist hot spot’ fast foward to the 21st century and the world is a seething mass of tourism. You have to scratch deeper than the surface to find the true place hiding beneath. Once you dust away all of the souveneir snowglobes, teatowels and selfies you find yourself in the true spirit of the place. Yet at the same time in the book ” The Framed World: Tourism, Tourists and Photograph’ I was interested to read that “the carrying of a camera still signifes a tourist…we are almost perpetually primed to click’  This is perhaps true, whenever you go to an event or attraction now everyone is holding a camera or a smart phone, selfie sticks battle against tripods.  Sometimes I find myself in the midst of some such scrum and I pause and put my own camera down. In that moment I realise I’m the only person who is truly part of that event, everyone else is a witness because they are only seeing the images through a screen. I feel I’m the only person grounded in the moment. Which is why, since starting this course, I rarely take photos at mass events. I capture a few, the ones that capture my personal respone to the event or location but I focus on enjoying it, capturing images both with my camera and my memory.

It’s something I have never thought about but how far can a photo go to take you inside a location. Is the photographer and therefore the viewer (as the two are perpetually linked) always the outsider? At first I was unsure. The photographer may not be a tourist and is instead immersing themselves in the location yet the viewer is always looking at two dimensional image, they aren’t looking at the Great Pyrmaids of Giza, they are looking at a photo of the Great Pyramids of Giza. Yet that is where photography lets the viewer transcends, they are suddenly there, they are standing at the foot of the Pyramids, though it is just a piece of paper or a computer screen the viewer can feel their feet sinking in the sand, the burning overhead sun and the crowds of people chattering behind them.

See these two images



In one you capture those feelings and emotions of actually being there yet in the other, you are given the truth. This seems to have diverted into a discussion of the picturesque and how sometimes we airbrush out the finer details to create a more aesthetically beautiful image.

In conclusion I feel like you can be both. Sometimes the images taken are from a tourists POV and yes, there is a feeling of being a foreigner in a new land, yet I also feel that a photographer can immerse themselves in the location and at the same time allow the viewer to be immersed too. One cannot work without the other.



Posted in 13 The tourist perspective, Coursework

Exercise 3.2 Postcard Views

  1. Gather a selection of postcards that you’ve bought or recived. Write a brief evaluation of the merits of the images you find. Consider whether as Fay Godwin remarked, these images bear any relation to your experience of the places depicted.

Postcards have always been something wonderful to me, a little snippet of a memory, posted back home waiting for you, connecting you to all sorts of incredible places around the world or even on your own doorstep, whether you’ve visited them or not. There’s that enjoyment of sitting on holiday scribbling away, like a personal diary, one arriving from a friend showing they’re thinking of you or collecting them to remind you of special memories. Therefore I was rather upset to see the comments of a fellow past student who I will not name and their disregard of postcards. They wrote how they thought postcards were a way of bragging, a pointless memento that people had to wait for and why in this digital age would we care for something made of paper, so insignificant. It was then I realised what postcards meant to me that I could even feel angry, I know everyone is welcome to their own opinion (not that we always want to hear it) but to diss something so wonderful and timeless. They don’t see it, yes social media connects us all instantly but that’s what it is, instant gratification, the moment is gone, the photo is shared and I admit I post images of my trips away or places I’ve visited but I also send postcards to those who matter. Taking the time when you could just send a text shows you care. Just as creating a postcard of something says ‘this is special’ course book so too, taking the time out to write a postcard shows ‘you are special and we care’

I also do not share any of the thoughts of Fay Goodwin “I get satiated with looking at postcards. they are a very soft warm blanket of sentiment,” in fact her opinions infuriated me, I understand that the picturesque has perhaps an over saturated feel which has been intensified by tourism and the media yet if we reset all those thoughts and comments and for one moment made every human and man made element invisible we would see that the picturesque was not an illusion, it’s very much true, because the world and the countryside is beautiful and we happen to come across such scenes and beauty and feel that emotion of awe and love. Yet a critic comes along and says it’s a lie, an illusion yet they clearly do not see the beauty of the world because if they truly opened their eyes they would see just how beautiful the world is. Nor do I think Constable was painting a false picture, if you forive the pun, of the Haywain. Just because there is crime and unrest in the world doesn’t mean that we must only see images of that. Yes we know there is war and terrible things going on but at the same time every image of a landscape or painting of an area is not critised for lying. The images don’t need to be focused on that. For every painting in existence there is something bad going on in the background.

I do feel rather strongly about this and I’m not usually so outspoken on her but it wouldn’t be true to myself of I praised and accepted these thoughts I don’t share in.

Anyway, I will continue with the exercise.

Recently while re organising my room I came across a big file filled with postcards. My Dad was pleasantly surprised that it had been found among all the photo albums as it contained all the postcards he had collected, received and sent in return to family members. It was the equivalent of a travel book with pages filled with exotic and local destinations. He said he began the collection to preserve memories when digital cameras were still in their infancy. Some were places I had visited myself, others only my parents had set foot there and some were from friends abroad. What I find especially intersting was that a great deal of the postcards had been written and I saw how we all leave behind our own echoes in places which can be reseen in the mind. My memory of a church would be the blossom that blooms around it every year yet to the postcard owner, that day it rained, they attended a wedding and got a cup of tea on the pier.  I am going to centre Assignment Three around echoes of memories and the places we leave ourselves behind in perhaps incorporating images of my childhood in them.

Below are a selection of the postcards with my thoughts of each one.

This both matches my experience of the place and the images promoted across the media. The reason being, this is what the Lake District geographically looks like.
A very stereotypical image with the bagpipes, I can’t say I saw any reindeer in Scotland but the landscapes are synonymous with my experience of Scotland.
This was sent to my Dad from a friend who visits Disney Land every year. Whilst I have never visited this is the image that is always conjured when Disney Land is mentioned.
My memory of Dunkeld is running through the wood and meeting a drunk woman, also a relative lived up here but as I was young these are just beautiful images to me.
I find this postcard amusing with all the cherry blossom as it presents Llandudno as a place akin to the Cherry blossom festival.
I’m not quite sure where cats come into Llandudno but this postcard was sent to my cat loving Grandparents.
A place I know well but I can’t say I’ve ever witnessed it in the shape of a teapot, or where the teapot comes into this.
Here is one image that is a mirror image of my perception and indeed the photos I’ve taken. The Swallow Falls spread out in a deafening beauty and to Google the images all of the images are similar if not identical.
I’m struck by this as I can’t actually remember what Alderley Edge looks like yet I feel an urge to visit there and the images capture that ethereal feel as felt in the book ‘The Wizard of Alderley Edge’ So whilst I can’t remember the place I have literary generated memories.
This image is different to what I saw as we passed by in a steamed up car with the rain lashing down and Mallum cove lost in the mist. In fact we had already stopped a mile back and taken photos in front of what we presumed was the cove which was in fact just a small granite mound. To be honest we had stopped at several’ coves’ before we discovered the true one which we whisked by in the car.

I was very inspired by Francis’s Firth huge project to photography every town, city and village in Great Britain, such an immense project to undertake and one that has served an understanding of the past.

I was especially eager to see whether my own town, Lytham St Annes qualified in the set. Why is there something so exciting about seeing your own town depicted in a project when you can just easily look out of the window and see it in stunning technicolour. I suppose it’s behind the artist’s vision, we all like to see how a place is interpreted to another and especially if that place bears some emotional symbolism to the viewer.


Posted in Coursework, Research and Reflection

Grundy Art Gallery Exhibition Review

“Everything is created twice, first in the mind, then in reality” Robin P Sharma

Yesterday I attended an art exhibition at the Grundy Art Gallery in Blackpool. I’d visited one or two exhibits a few years ago. I realise I am rather selective when it comes to fine art. If I see an exhibit featuring a huge inflatable balloon that fills the room I disregard it as it bears no connection to my studies. Yet, that said, if you perceive the world in such a way, everything links together, every subject bound, some distant, some more obvious. I was chatting to the museum curator and who knew that a comparison of an old painting could also be quite a strong comparison for a steam engine retired from the public and festering in the dark.

Therefore from now on, I will view everything in regards to my study. After all visiting only photographic exhibitions is surely one-dimensional thinking.

There were two exhibitions. Paper, Canvas, Neon displayed a variety of work from the Grundy Art galleries permanent collection. It was diverse encompassing a broad spectrum of materials, mediums, geography and dates. From an original of Pablo Picasso’s ‘Dove’ “used to illustrate the 1949 Paris Peace Congress, that became an international symbol of peaceful and political action, to the panoramic vibrant painting of a sun lounge on Blackpool seafront by Keith McGinn.

Next was the focus of my visit. Before seeing the exhibit I’d done some research on Tahi Moore’s installation, ‘Kim Wilde’s Heart of Darkness’ The exhibition was described as showing ‘images of mountains…seductive beauty…lights and resonance.” It sounded intriguing and I was excited to visit.


The name was inspired by Kim Wilde’s song ‘Cambodia’ I listened to the haunting song, of a husband sent to Cambodia (presumably for war) and how he returned but he never truly left Cambodia. LIke all the greatest art, the song ending is open for interpretation. What happened to the wife who searched for him in Cambodia? If she saw him again why did he never return from Cambodia? “And if she held him close He used to search her face as though she knew the truth lost inside Cambodia.” I interpreted it as her husband did leave the country yet only in the physical sense, emotionally, destroyed by the horrors he saw he would forever be lost inside Cambodia.

As it turned out the only thing the exhibition shared with the song was the title and even then it was obscure how that was related. I walked into a room that was blasted with light. Three wall-sized screens showed a few-second loop of unbearably shaky footage of the mountains, soft out of focus lights blinking and another landscape flickering on and off. This was disorientating enough without the several TV screens on the final wall blinking on and off with literary quotes from Macbeth, Othello and King Lear.

All of my initial thoughts and expectations of the exhibit drained away. I stared at the screens revolving myself in a slow circle trying to define some meaning from the exhibit. Try as I might I couldn’t and I realised it was because the flashing lights, the onslaught of images and disorientating visuals were apprehending my own mind and I couldn’t think. I recorded an audio note and I literally couldn’t string a sentence together. Was this the desired effect? I wasn’t sure. I recalled what the museum curator said earlier, “When you go to the exhibit, take your own interpretation but you should know that a conversation with the photographer was quite intense.” He told me how Tahi Moore would be talking about one thing and then leap back to something two weeks ago in the same sentence, running several different conversations with different people all in the moment.

All the screens and projectors were connected by wires that linked into the centre of the room. As far as I know the wires were not a part of the exhibition, yet why show them so obviously; however when I saw them finally the exhibit started making sense coupled with what the curator said. Were these images to show the personality of the photographer, had he portrayed his true self to the viewer. I was inside his mind, the wires on the ground connected to each other like the dendrites and synapses relaying information to the brain. That is the meaning I took from it but without the curator’s words, I fear I wouldn’t have taken anything from it. I’d have been sat staring at a computer screen trying to turn thoughts into words yet the thoughts being as blank as the piece of paper pinned to the exhibition wall.

I guess even though we take our own interpretations from art we are always swayed by others perception and sometimes adopt others views as our own, creating a rather triumphant feeling that we understood the art. Yet can we truly ever understand art? As Susan Sontag said the way we view images is just like we are still stuck in Plato’s Cave, we create our own stories from the shadows on the wall but we do not know the story of shadows the photographer is telling.  I will discuss this in one of the next blog posts.

I chatted to the curator after visiting the exhibits and he told me some fascinating trivia about pieces in the gallery and when I was leaving I bought one of the art magazines they had. To my surprise, he dashed off and gave me several back issues of the magazines for free! I was so touched by his kindness.

So while the exhibit was different to my expectations, so too is everything in life, no disrespect to the artist but I actually felt more drawn to the song and the hidden meanings and how in respect to the next part of the course especially, a space becomes a place and sometimes while you physically may leave that space, emotionally there is always an imprint of you left behind, either in the place or the place in your mind. Perhaps I could create images of the echo of memories for Assignment Three.