It starts with the idea of a camera.
This statement, as simple as it sounds felt like a break through for me. It starts with me deciding a camera I would like to build or a building or structure I would like to change into a camera. This then determines what I shoot. Weather it is static and determined for me like the Pah or an oversized walk-in camera in my back yard.
The importance of light, space and time as the centre of my work.
Subject as object. Roland Barthes in Camera Lucida writes about this transmormation of subject to object and the punishment it entails. What I missed in seminar when asked, “why portraits as subject?” was to explain that cross over from subject to object and this is the enigma of photography.
These are some quotes from the book that are what I love about the phenology of photography;
“Photography transformed subject into object, and even, one might say, into a museum object: in order to take the first portraits the subject had to assume long poses under a glass roof in bright sunlight; to become an object made one suffer as much as surgical operation; then a device was invented, a kind of prosthesis invisible to the lens, which supported and maintained the body in its passage to immobility: this headrest was the pedestal of the statue I would become, the corset of my imaginary essence.”
“The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.”
“For the photograph’s immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past (‘this-has-been’), the photograph suggests that it is already dead.”
The moving image aspect of my work was an interesting moment in time for my practice. I think the idea of it was received well but i’m unsure that the work itself was very strong. I think what I need to do more of moving forward, is to think more about how I can translate the idea of mystery and enjoyment with in my practice and how the is presented to share that feeling.
There was also a lot of discussion about the photo of the camera and whether it is needed or not. The size and position of it were important and if it is an art work or not. And if its not then maybe it needs to be smaller and by my artist statement.