Lolly wrapper 22/03/2021 Ripped work diary 22/03/2021 Peeled wall one 22/03/2021 Peeled wall two 22/03/2021
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VESTIGES (?) Two part documentary photo series Presence of absence Part 1 : Objects with human presence e.g. a coffee cup stain Part 2 : Humans with object presence e.g. bed creases on skin Shower 16/03/2021 Peel 16/03/2021 Callus 17/03/2021 Callus 17/03/2021 Cow hair on wire fence 15/03/2021 Hair on sink 15/03/2021 Scrape 15/03/2021
jane dorn family portraits https://www.brainpickings.org/2014/04/03/jane-dorn-photography/ " Emanating from Dorn’s photographs is a disquieting sense of impermanence as one beholds these derelict structures once erected as assurances of permanence. And yet a quiet beauty slips in through the cracked back door, gently reminding us of the Japanese concept of wabi-sabi — the awareness that life’s beauty comes from accepting imperfection and welcoming the natural cycles of growth and decay." Papova, M., n.d. The Presence of Absence: Jane Dorn's Haunting Photographs of Abandoned Buildings in the South. Brain Pickings. Available at: https://www.brainpickings.org/2014/04/03/jane-dorn-photography/ [viewed 15/03/2021] "Looking is benign. Seeing has teeth and comes with consequences. You see it, you own it. Sometimes it owns you. I think of photographs as proof. Empirical evidence of both what is and what is not. Through the camera, I see not what is present, but w...
jane dorn 'type of grief' from website "TYPE OF GRIEF | Public—yet intensely private—portraits of those who die and those who grieve Roadside memorials. Public displays of perhaps the most private instant—the one when life stops and not-life begins. The fallout is powerful enough to make typographers and installation artists of those whose grief exceeds their belief that they cannot draw a straight line. On hallowed ground, these works represent the most visceral manifestation of vernacular and installation art. I sometimes come across mementos nestled in tall grass, left by those who have visited." https://www.janedorn.com/type-of-grief
“The IMPRESSION series came about from my dating experiences in college, noticing the different trends and styles that women wore to ‘impress’ or gain attraction. It interested me that so many women would wear binding or uncomfortable clothing, to either impress or attract others, or for their own self-esteem. Having degrees in both Sociology and Photography + Imaging, they definitely combined in this project to show my interest in how society functions, but to also show it in a visually compelling way. I hoped this series would reach women, and inspire them to question what they wear, and why they wear it.” https://www.soapstories.com/blog/justin-alexander-bartels-impression-series-will-have-you-questioning-what-we-sacrifice-for-beauty/ justin alexander bartels impression 2015 https://www.justinalexanderbartels.com/portfolio/G0000vjStQaMIBw0/I0000BEXDgy3BxkE
The absence of presence in the every day https://charlotteemilyfineart.myblog.arts.ac.uk/2014/10/30/absence-of-presence-in-the-every-day-2/ In my exploration of hair, I was noticing hair in every day settings more than before, which led me onto noticing how pieces of hair are left in sometimes weird places (on food, on a shower door). This brought me onto the idea of human interactions with the every day. For example a coffee cup stain, a strand of hair on the floor, a scuff on the wall
https://www3.mcachicago.org/2015/salcedo/works/disremembered/ Each of these three sculptures is made of woven raw silk and nearly 12,000 needles. They developed out of years of research into what Salcedo perceives to be society’s inability to mourn. At the core of this investigation is a lack of empathy that pervades public life, in which one person’s loss is not registered by others, and instead those in mourning become stigmatized, adding to their pain. When viewed from different angles, the details of the sculpture oscillate between visible and invisible: the glint of the nickel and the sheen of the silk appear and disappear simultaneously like a fading memory. The work thus embodies a sense of paradox. Beautiful yet dangerous, it is unclear whether these sculptures, with their thousands of needles, are intended to protect or to harm Doris Salecedo, Disremembered