Below is a digital recreation of my photo series. I originally printed out the photos in a B6 size and stuck them up with white tack. I thought size suited the space I was exhibiting. It encouraged both viewing up close and from afar.
Top: the solitary see one another, the eye line is distorted as the engineering of the interaction contextualises what was witnessed.
Bottom Left: When viewed consciously parallels and continuity can be constructed. The same position, a pointing hand, an arm outstretched, a leg crossed.
Bottom Right: The unseen witness becomes seen the process is broken but the photo exists. The camera creates its own truth.
My crit was really useful. I found it quite hard articulating my idea in the end but Paul managed to re-word it in a better way. I talked a lot about the jump from film to digital and how that influenced my method. I did also discuss the various levels of consciousness a witness can have. Andrew saw the link back to the book “the photograph as contemporary art” and he mentioned how documentary style photography has changed and ventured more into the realm of fine art. He said this project is one that could be done over a long period of time. Then you would be able to look back and draw from the series rather than the individual image. Paul thought that coherence would benefit the project. He suggested doing the same thing at an event. I didn’t quite get this but I think just so we know about the people already and can work off our preconceptions.
It was a really great experience presenting my work and having other people’s work exhibited to me. It’s always so inspiring to see just how differently people can take the brief.
To give you an idea of how we presented our work. here are a few pictures of the setup:
Cameron Aitken Graphic Design 