Photography is Simple is about curiosity, following up all those I wonders and what ifs. It’s about the origins of photography in the UK, via Fox Talbot, Lacock Abbey, and experimentation. It’s about the technical simplicity of the Polaroid. It’s about inside-out and back-to-front, about the bits that we ignore – the backs, the guts, the negatives. It’s about exploring a single object and multiple possibilities, like Masterchef and coriander. It’s about tampering with prints and memories. It’s about windows – seeing from the inside out and the outside in; like how Barthes talked about how we don’t see the photograph, but only what it’s of (2000, p6), like how we see through/into a photo rather than looking at the object itself. It’s about looking through the same windows as Fox Talbot, working with the same light, and the photographic window on the world that he gave us all. It’s about frames – both for windows and for images, and that Polaroid frame on every print. It’s about my creative journey – taking ideas from FiP, tending them and testing them. It’s about taking inspiration from the Revelations study visit two years ago and putting it, via Polaroid – onto watercolour paper bought at the Wolfgang Tillmans study visit, or magnetic acrylic blocks as helpfully identified by an OCA Fine Arts student (Stefan). It’s about trusting that Walter Benjamin was right when he said “In artwork, subject matter is a ballast, jettisoned during contemplation” (Benjamin, 1979 p66-67 cited Campion in (Berg and Gronert, 2011)), and still wondering about aura. It’s about risk, each Polaroid is a one-off, if the emulsion sticks or processing sucks, there’s no way of just running off another one. It’s about my friend Clare, who said there’s no point altering something that isn’t precious, that doesn’t carry a risk. It’s about chemicals, it’s about instability, it’s about change, it’s about time and it’s about me, my creative foundations and my creative future.
The book has been submitted for tutor critique, however you can see a 30 second video here:
In addition to the physical work, I have some jpgs of the backs of the Polaroids immediately after manipulation. With my tutor’s agreement, I am including eight of them here to seek guidance on the better set to develop for assessment. Please click to view a larger image.
Finally, the course notes requires me to direct my tutor to exercise 5.2. I chose to respond to Moyra Davey’s Copperhead and you can see the third iteration of the work here. Please note there will be a 4th iteration added, with sharper images of the coins, however this is how it is at the moment.
Barthes, R. and Howard, R. (2000). Camera Lucida. 1st ed. London: Vintage Books.
Berg, S. and Gronert, S. (2011). Through the looking brain. 1st ed. Ostfildern: Hatje Cantz.