PHO702: Critical Review Archives - MA Photographic Journey

PHO702 Critical Review of Practice

Roydon — Mon, 10 May 2021 08:08:19 +0000

https://indd.adobe.com/view/ccea25ea-8607-48a3-8a67-80c535e18779

The culmination of the PHO702 Informing Contexts module. The assignment to produce a 2000 word Critical Review of Practice, better known as CRoP. Follow the link to view the final version as submitted. The work in progress for this module is located at http://roydonwoodford.co.uk

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Artist: Penelope Umbrico

Roydon — Mon, 10 May 2021 07:52:37 +0000

The artist Penelope Umbrico is a prolific practitioner with a large catalogue of work presented on her site. Her use of appropriation of other peoples images for me is one of the things that stands out about her work. Displayed below in figure 1 is a collection of sunset images that have been taken from Flickr.

Umbrico has not stopped with sunsets, utilising the process has created works based on full moon images and TV remotes. I find that the sunset images work well with the colours blending and contrasting. In looking at the image I find that it enters a “eye” game as you explore the surface moving along the lines before being stopped by a colder image which moves the eye in a different direction.

Fig 1

As abstraction I find this a great piece as although the image allows the individual referents to be seen clearly, however the overall work creates a new non referent image.

With the concept of appropriation in mind, I produced an image of the Eifel Tower with images found online. This image is produced in the multiple exposure method, as discussed in the post regarding Pep Ventosa. So

Fig 2

Reference

REXER, Lyle. 2013. The Edge of Vision. (First paperback edition edn). New York: aperture.

Figures

Fig 1 Suns from sunsets on Flikr http://www.penelopeumbrico.net/

Fig 2 Roydon Woodford 2021

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Artist: Roger Newton

Roydon — Wed, 28 Apr 2021 11:47:01 +0000

Roger Newton is an artist whose work clearly resonates with me, with his production of large non-representational abstract images and utilisation of pinhole cameras. He is well known for creating non-glass lenses to refract and reflect light to manipulate his images. Newton, in his artist statement, says that “by designing and fabricating my own lenses I can control the quality of the light collected, the size and shape of the image field, and the colors in the scene. This allows me to work more directly with fundamental problems in the processes of seeing and perception, and ultimately the ontological problems of the thing and or scene depicted” (Foundation for Contemporary Arts, n.d.)¹

Fig 1

Roger Newton pushes back against the traditional photographic systems to explore the ‘looking’ and expand the question of representation. His work, an abstractness that pulls against the composition that leaves the viewer to make sense.

The properties of the components he uses have dramatic affect on the images directly. Non glass lenses made of oil or homemade film emulsion glued onto plywood. This photographer is a good example of the experimentation that abstract photographer can utilise to produce images.

This process would be further research to conduct in the abstract process. I do have reservations for my own practice as the simple chemistry is predominantly black and white which I have not explored in any great detail.

References

1 https://www.foundationforcontemporaryarts.org/recipients/roger-newton/#:~:text=Roger%20Newton%20is%20a%20photographer,began%20experimenting%20with%20color%20photography.

https://www.davidzwirner.com/exhibitions/1996/roger-newton/press-release

Figures

Roger Neton: https://www.invaluable.com/auction-lot/roger-newton-1721-c-fe74dcd8c9

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Artist: Wolfgang Tillmans

Roydon — Tue, 13 Apr 2021 22:37:38 +0000

Wolfgang Tillmans makes a strong point when it comes to abstraction “The initial question everybody asks when confronted with a photograph is who is it, when was it made, how is it made, and when you’re confronted with a painting you don’t ask that. I mean, why can’t it be enough to look at the object in front of you?”

I find that Tillmans is an exceptional artist of our times, his work spans many disciplines, not just abstract. From a Turner prize winner, book writing and numerous exhibitions under his belt it is the abstract work that was the first reason for my encounter with him, however, there is much more to explore with the body of work he has produced over the years.

For me one of the most dramatic series that has been produced is the ‘blushes’. These are similar to the one depicted below.

Figure 1 Wolfgang Tillmans Swimming to Freedom

These images are created with “brushes” on photographic paper. The brushes are actually lights such as torches and lasers. I find this work an amazing blend of the arts. Leaping into the camera-less photography in a form of painting.

Looking back to the initial quote I can resonate with its contents looking at this work, and then the same position for much of my work. The image is where the abstract leads to and it is not about what it is or how it’s made.

For me this image is an excellent example of abstract work, even with its monochromatic style. The crisp smooth lines flowing into clusters and blurs. This effect is very reminiscent of the work by Jackson Pollock.

To explore other work by Wolfgang Tillman visit https://tillmans.co.uk/

References

What They Are – A Conversation With Wolfgang Tillmans (2001)

Figure 1 Wolfgang Tillmans Swimming to Freedom https://www.artandsciencejournal.com/post/21145270586/wolfgang-tillmans-in-this-series-swimming?route=%2Fpost%2F%3Aid%2F%3Asummary

Further Interview with Wolfgang Tillmans

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Artist: Dieter Roth

Roydon — Fri, 02 Apr 2021 22:37:50 +0000

Dieter Roth, engaged with the Fluxes movement and produced many notable works. The Fluxes movement included many prominent individual artists, and I feel was a direct revival of the Dada period under a new name. The similarity is very exacting. Roth distanced himself from the Fluxes group as not to be consumed. His work is inspirational and experimental, with the solarised image covered in goats cheese as an example. ‘in order to get his goat. I thought he would turn blue and green, like cheese.’¹

Roth’s image from 1970 shown here is a screen print, which could question originality, however, I find keeps the eyes exploring the image for interest and exploration. The tones which only have a small range of colours, blues and orange-brown, offer such a great diversity of elements. The darker colours lifting away to create individual images before you plunge into the lower tones of the blue.

This I feel is an excellent example of abstract work because of the individual detail within the image with no representation or signifier within the image.

Fig 1 Dieter Roth

The Tate has a collection of his paintings and prints available to view online, I find that there is such great variation within the body of work. The ‘self-portrait at a table’ is a good example of the surrealist influence and then other works depict other styles, but the abstract theme underlies many of the work.

Bibliography

Roth, quoted in Roth Time, Dobke and Walter, Lars Müller, 2004, p77

Figures

Fig 1 https://www.1stdibs.com/art/prints-works-on-paper/abstract-prints-works-on-paper/dieter-roth-20th-century-abstract-dieter-roth-piccadilly-screenprint/id-a_7818612/?¤cy=gbp&gclid=CjwKCAjwgZuDBhBTEiwAXNofRCc_DUVqeiiJqciP6tQdpEsyy_KBSJw2K4_jstLKh0kFzcBk8iENSBoCNIYQAvD_BwE&gclsrc=aw.ds

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BA Presentation – Reflection

Roydon — Sat, 27 Mar 2021 01:05:02 +0000

BA-Presentation Download

BA Presentation Reflection. Completely useless PDF if you were not present. The 20 mins of me orating to discuss, explain and reflect are missing. Ten more minutes of questions and answers which I felt were for my benefit. Thanks to Pe** I now have another avenue to explore. Thanks to Steph and Abby for finding some BA student willing to give up lunchtime.

LO6 Written and Oral communication was clearly fluffed. I know that I spoke too fast and maybe without a clear train of thought, so did not delve very deep into the images which would be the LO5 Critical analysis. Notes and more rehearsal. Maybe the practice which came in at 35 minutes caused the rush?

The experience has presented a strange position in that I have been reluctant to have my camera on during lectures and seminars during the modules, Not sure why. Here I was camera on, the mic on and the spotlight was very much on me. I have felt very conscious that there are others that stand out and I have been in the shadows, which sadly is not who I have been or think that I am.

I feel this experience was very much required for me to get back to being at the front. I would love to thank all the students that gave up their lunch time to drop in and hear R****** C********* and myself.

Although the contextualisation of other artists works presented in the chatbox was well known to me through the research I have undertaken it was really good to see how much the group were informed.

Some of the work I have undertaken is Pinhole, Justin Quinnell is well known for this kind of work and has presented a workshop on his practice, which I was unaware of. Finding out more about what the students have done would have stopped me from showing the can that I have used. However, this is really good in that it reinforces the research aspect of whatever you do.

I feel it is shame that more of the Informed Contexts group did not take up on the offer because this was far greater an experience if you reflect on your own performance within the learning outcomes

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Artist: Ilan Wolff

Roydon — Mon, 08 Mar 2021 09:27:28 +0000

https://www.ilanwolff.com/

Ilan Wolff has established a large body of work using the ‘Camera Obscura’ or pinhole camera. His career has spanned decades with work produced around the globe.

He utilises various sizes of canisters and tubes to produce his images, The curvature of the can, which causes the film to curve together with the large field of view produces an optical warp in the finished image. This look is something that helps identify the process.

Studying Wolff’s images in relation to my own have shown that more consideration is required with the composition. I have understood the wide angle nature of the camera however I have established that my foreground items were still too far away reducing them a small blip in a vast image.

I feel that in viewing Wolff’s work allows one to gain insight and utilise the years of experience from someone who has mastered the craft of camera obscura.

The image below is Wolff’s experimentation with 3 holes in the camera tube producing an overlapping image is a further process that I have started to explore.

Fig 1

One aspect of Wolff’s work that does stand out is the use of colour toning introduced in the darkroom processing of the images. Although this dramatically enhances the finished result it is something that will be beyond me in the current facilities that I have for processing images, however if there is a change in circumstances it would be something to undertake.

References

Figures

Fig 1 Ilan Wolff Minster Bridge. https://www.ilanwolff.com/photography-for-sale/3-pinhole#sigplus_1001-12

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Week Six Tutor 121

Roydon — Mon, 01 Mar 2021 02:50:09 +0000

One has to reflect and understand your own practice in terms of the theory and critical review of photography to be informed and have context.

With abstraction, there is a myriad of different processes which are used to form a body of work. I have found that the key part is to explore the work of peers such as Bill Armstrong with abstract images such as the Mandala series, and Pep Ventosa with his multiple exposure images, to understand what the methods are and to evaluate these for the production of work. Once the process is understood it is possible to utilise the informed process for one’s own application.

A study of the practitioners who operate in the area of light or image manipulation is one aspect to inform the work but the theory and history of photography collide with the more traditional art mediums of to provide more context to the work.

Until recently the well defined intent has been lacking within the practice but recent events have lead to intent becoming more crystalized. However, even with intent more well defined in words it still follows that this is about the viewer.

I have found that the reflection of practice simple when it comes to image selection. The image has worked or not for me, and hours of further time will not produce a result, so I do not overthink the choice which is key. If the image does not advance my intentions or brings anything new or more then it is deleted. There is discernment undertaken looking between different images which may be different technical methods. That is to say that both images may well be the best in the style or method I have tried but if the style does not suit then even that good one will be rejected.

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Artist: Pep Ventosa

Roydon — Mon, 01 Mar 2021 02:07:04 +0000

Pep Ventosa is a practitioner who plays with the idea of showing an image of something we know reconstructed in a way to play with the mind, and showing us an image constructed out of one single moment in time.

As Pep Ventosa states, ‘I like exploring the space between photography and painting, using photographs as raw material to create new visual experiences.’ So although the image below is recognisable as a carousel its one we can never see with the eye alone.

Fig 1

In quoting Voltaire during an interview he goes on to explain an take on originality, ‘We are all part of the very old tradition of creating images: drawings, paintings, sculptures, photographs…and that surely has a profound influence on us. Through repetition and imitation, as concepts, we may find our unique voice, ergo be originals. Something especially difficult in photography, I think.’ I can resonate with this when at times I have felt the influence of others as copying others when in-fact the images are new and original.

My undertakings with this style have resulted in two images which at this point would rank highly likely to be included in my Work In Progress portfolio .

This process of constructing an image is simplistic at a theoretical level, blending multiple images to make the new one however, in practice the execution is far more complex.

Shai Apeloig, a Swedish practitioner, has just secured 1^st place in the Sony world photography national awards for Sweden. with his ‘Dream of the Iron Baloon’ .

Figures

Fig 1 Pep Ventosa, Carousel de la Tour Eiffel from the Carousel in the Rounds http://www.pepventosa.com

Bibliography

http://www.pepventosa.com (accessed 01/03/2021)

Interview with Pep Ventosa. https://www.onlandscape.co.uk/2017/07/pep-ventosa-featured-photographer/

References

https://www.shaiapeloig.com/

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Artist: Bill Armstrong

Roydon — Tue, 23 Feb 2021 21:46:21 +0000

https://www.billarmstrongphotography.com/

Bill Armstrong has established a strong presence in the abstract workspace. The work spans decades and is represented in several galleries globally including the Hackelbury Fine Art in London.

The most recent book produced is Isolation and Confinement with essays that cover various individuals either incarcerated of isolated due to a pandemic. His use of his work on the cover clearly shows the feelings that can be associated with the title.

I find that the work that I appreciate the most is his Mandela series. The Mandala has strong links to the Buddhist religion, Based on repetitive patterns that relate to the themes of Buddism. His work often out of focus works well with the collage that reduces the circles. Revealing strong passionate and colourful images.

In his own words, he explains what he is aspiring too, ‘allows me to create rhapsodies of color that change as one gazes into them: they pulsate as if alive. This sense of “being” within the inanimate invites an inquiry into the idea of the interconnectedness of all things.
Whether seen as celestial spheres, imaginary objects, or microscopic details, the Mandalas are meant to be meditative pieces–glimpses into a space of pure color, beyond our focus, beyond our ken. Their essential purpose is to create a sense of transcendence, of radiance, of pure joy!’¹

Figure 1

Bibliography

https://www.billarmstrongphotography.com/mandala-page-info

Figures

#4002, 2016 https://www.billarmstrongphotography.com/mandalas

References

REXER, Lyle. 2013. The Edge of Vision. (First paperback edition edn). New York: aperture.

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