Produce a first edit of your work in progress. Use this to envision the way this can be articulated as a final iteration of your Major Project and produce a mock-up of this.

The title of this month’s project 4 of First Edit, initially had me worried. My work is progressing but am I ready to produce an initial edit at point 4 of 10 of this unit? My answer was initially no although after some thought and reflection on what might be meant by “first edit of your work in progress” might mean, I changed this to yes, I can certainly produce an ‘initial’ edit.

My creative work to date has been experimental and I have not yet decided what should feature in my final project but I am starting to form a sense of how my work should feel. This approach using my emotional attachment to project provides me with a sense of the impact of my work although some of this will be felt in the creative process rather than by viewing the finished works. I have worried over how my audience might view my work and hoiw they might feel and whether I am asking a lot of them in such an emotionally charged project.

My recent work follows two main themes, that of use of found photographs from old albums and corruption whether manually introduced to the image or whether by accident caused by a fauly graphics card.

An initial edit of my work uses some of the work I created using glitches. I could either present this with or without the glitch. The red is very appealing to me.I tested this with a border as shown below.

Another test of the glitch shows a found image of a child and a cat gazing into water. I worry about this image being overworked but there are elements I like such as the overexposed portion at the top of the work. Am not convinced by the piece.

My next image in this test or first edit is an emotive picture I purchased online. The photograph is small and shows a mother with a baby on her lap. The child might well be dead as it is lying very still. There has been some kind of fault in the developing process and ths surface of the emulsion is missing in parts of the image so we do not see the mother’s face. This gives the child’s shawl surrounded by the mother’s dress as if the lining of a coffin. The fading on this image gave me a sense of what the liminal might look and feel like. I like this image very much.

My next work is not a photograph but is a physical object. I found this locket online. It contains a lock of blonde hair with a photograph of a young woman in a hat. On top of her image a tiny frangment of a child’s image has been placed. Like my image above, this locket speaks to me of death, of questions with unkown answers and of lost memory and histories. Combined these facets suggest the liminal space.

I used some photographs I had taken of a steel structure on a beach, of a dark space underneath a stone arch and of an experiemental work I created of a “window” of light. These pieces test my idea of how to express the liminal in visual form.

My early edit showing these images perhaps gives a sense of the beginnings of my project but also asks many questions. How would I display album images alongside my photographs and most importantly, do these works fit into a single project and do they communicate the purpose of my project? As I look at these works here, they feel disparate and their message confused and difficult to untangle.

My tutor said of my dissertation that it is a Memento Mori, albeit one which took a long time to conceive and produce. If my major project also explore my sense of Memento Mori then how do I accomplish this task? Should I use straightforward physical works with a direct and obvious connection to death or more contemplative and conceptual works which ask more of the audience? How should one work relate to the next. I have many questions but not many answers.

After my selection process, I used some photographs I had taken in a gallery and, on the computer, swapped some of the images for my own. This allowed me to start to experiment with size and placement and to question myself of what I might want from a gallery space.

In summary then I can say that my planning is progressing well but not without challenges. The tempo and pace of my Major Project is much more dependent on external factors than I initially envisioned at the start of the 3.3 unit. I have been working on making and refining my images so that when I come to a final selection, I will have a good number of quality images which mean something to me and yet will not immediately or obviously show my audience a final intention or design. I have been utilising peer feedback to help me refine these images. This part of my project feels under control. To act as a fulcrum for my images I have been thinking of an installation of a see-saw at the heart of my project. This will act as a centrepiece around which my images will be shown. I asked for some initial feedback on this idea from peers and from my tutor just to test my thinking about this and to see if I am barking up the wrong tree as regards a final project for a photography degree. I have to be careful as the installation is not designed to be a greater part of my project than my images but I see it as another way to explore the liminal threshold. The see-saw will provide a link to children and will show the balance at the liminal threshold of death. I have purchased some old scaffold board which is 2.5m long.

I have some photographs I took in Skye on St Columba’s Island which is burial site for the Bishops of the Isles. I mention this site as it contains some interesting effigies carved onto slabs which lie on the ground. The effigies show warriors in armour and helmet with sword.

I was drawn to these slabs and the pictures I took popped into my mind as I thought of decoration for the see-saw. A more detailed description of this site can be found on the Journal of the Clan MacNicol of North America. (Nickelson, 2015, pp. 14–16)  I can experiment with maybe using cyanotype impressions onto the wood or perhaps laser transfers or wraps. The feedback on this idea from my tutor was that while idea is very interesting this came with a warning about not forcing my ideas. With this in mind, I have also approached my local council to see if they have any old see-saws which have been removed from play parks. Using such a piece of play equipment might be more effective in representing my ideas rather than building something new. I was able to speak with someone on local council and they happy to supply such equipment as long as I agree not to raise health and safety concerns by actually using this as a piece of play equipment. When I said this would be for an art exhibition this seemed to settle any nerves. While there is nothing currently in stock, they expect to have some equipment later in the summer.

I have also been looking at two pieces of work to support my own project which again need external input. I joined the Association for the Study of Death and Society as a way of growing my network on contacts with an interest in death studies. I was discussing my work and one aspect of discussion was in how many people are drawn into this field having experienced loss. I have been asked to submit my dissertation with a view to possible inclusion in their journal called Mortality. I have also been asked if I would like to be interviewed for a podcast. I mentioned this in my last feedback session with my tutor. An interesting thought is that such an interview walks a tightrope between my personal experience of why I started work in this field, namely the death of my daughter and the work which has grown from this starting point. Such an interview needs to keep in mind that Rebecca was my starting point and not the whole of my experience with my research and creative works which dissect the loss I have experienced and present a wider body of work.

Finally, I found a place which shares many similarities with my own work and experiences which offers residencies. The Museum of Loss and Renewal has a site in Orkney and in Italy and in their own words, “provide space and contexts for making and sharing, nurtured by artists and curators Tracy Mackenna and Edwin Janssen.  I have applied for a 2-week residency during which I want to explore how my experiences influenced by the loss of my daughter feels in another land with different attitudes to death and memorial. While death itself is a universal constant, such a residency would give scope to explore this topic from a different angle.  I have made early contact with Creative Scotland about the potential for a grant so when I hear back on my application, I can then pursue this financial aspect.

Post script – as I write this an email arrived and I have been accepted for this residency for the first two weeks in July. Some interesting feedback given from the curator Tracy Mackenna who is also Professor Emerita at Duncan of Jordanstone College of Art and Design; “Your work is highly engaging, as is the way that you describe it. Your motivation for wishing to undertake a period in residence is compelling and relevant, and I thank you for sharing your personal experience of loss.” An exciting development which I will need to think of in regards to my plan. For example, as the residency is in rural Italy, should I attempt to learn some basic Italian so I can interact with locals? Should I approach this residency with an open page and mind and with no preconceptions as I immerse myself in a new location and experience? Or should I form looser detailed plans on how to spend my time? I think I will do some research on other artists and their approach to residencies. I will also look at whether there is a local teacher of Italian or if I can do this online. An interesting, if unrelated aside is that before Alzheimer’s my mother was learning Italian.

References

Nickelson, J. (2015) ‘A Brief History and Archaeology of St. Columba’s Isle at Skeabost’, Scorrybreac: The Journal of Clan MacNicol of North America, 31(1), pp. 14–17.