Feedback
The approach to Assignment 2 displays a different, more conceptual method to represent my thoughts and was considered a good platform to push the new direction further. The Photography was seen as a collection that provides meaning and indicates a good level of understanding for the subject of social imbalance, whilst reducing the damaging effects of objectification or potential exploitation. The meaning was deemed readable to the viewer and a link was observed with my previous work in terms of the use of juxtaposition.
It was seen that the photography works as social documentary. The balance between artistic intervention and documentary/reportage is where this project is interesting. They don’t lose contact with the real.
Prior to the call I had concerns about the use of staged symbols to generate the juxtaposition, however the work was seen as a foundation to push the conceptual element further and force the ‘absurd’ element as far as I feel comfortable.
It was also considered that it is worth exploring visual references to other photographers or artworks. The suggestion to observe the area of land art photographer, Richard Long and montage artist Peter Kennard, who also used stock market symbols as a signifier for a wider concept
This feedback was extremely welcomed as I feel my work is often caught between what I originally intend and a compromise to consider other factors. By pushing the conceptual element within the overall area of social documentary, I believe my voice can be projected more significantly.
The prominent advice from the call with my tutor is to promote the absurd as a way to elevate the meaning. The absurd is the tool that drives attention within the juxtaposition of power and reality. Given that my work is predominantly coming from a ‘concerned’ position, then grabbing attention through poignant absurdity is a tool that has a level of merit.
It was noted from my tutor that there is probably a need to push the ‘absurd’ as far as I feel uncomfortable, then reflecting and you might draw back.
The tight framing of the images chops up the scenes and homes in on the relationships between the symbolic elements. This was considered a good way to represent. To understand more about the relationships between symbols it was recommended that I research Nicolas Bourriaud writings on the subject.
The question of ethics was discussed as my decision to remove identities from the frame is a consideration that I felt comfortable acting upon, although I had reservations regarding how this would effect the expression of concern or the level of intimacy. After discussing this with my tutor it was considered that although the representation may be less intimate, there are benefits to photographing without subjects if the context is upheld. Martha Roslers work ‘The Bowery’ was considered a good reference point for this area
It was recommended that I contact another student as the work contains some similarities in context.
Further research into the work of Richard Billingham was advised – Mark Durdon, Face On
Overall, I feel greatly inspired to further the direction my photography has taken and will attempt to photograph significantly more over the next few weeks to keep up the momentum.
Body of work project The unseen Power
The premise for this assignment is to further the development of my project by means of representing inequality within society, particularly focusing on the lack of secure housing for those whose circumstances are no longer within their control.
Consideration has been taken for the current situation and the inability to portray subjects who were willing to amplify their voice and be visually represented. To accept the necessary care and attention for my subjects and my own health, the project embarked on a transformation of direction and the replacement of subjects for meaningful visual metaphors via symbols and juxtaposition.
The central core of documentary photography remains the main pillar behind my intention to display the aura of established power, a power which is not visible when observing poverty. All that is apparent is the poverty and hardship. The aim is to signify the element that is apparent and yet not visible, the power of the establishment; the hidden control.
The project is undertaken with a question at its heart. If the Power of the Establishment was apparent, how would it present itself. As a highly subjective perspective, it relies upon a strong artistic voice that searches for the cause through social documentary practice.
Whilst the challenge to remove the visual reality of subjects has been a slightly complex and forced (due to covid) a new direction has opened up. This new direction allows the photography to visually describe the voices of those subjected to homelessness and extreme poverty by portraying the relationship between the cause and the effect.
The voices of those that are being projected within the project have been taken from many hours of conversations with those attending Bristol’s St Mungo’s recovery college from Jan 2019 to March 2020. Amongst the most telling of conversations was the presence of a bureaucratic barricade. A barricade that closed doors and prevented the sight or imagination of a way out. The suggestion became so apparent within conversations where the barrier was constantly referred to as ‘they’ as the broad term for financial help, housing assistance, etc. The ‘they’ that was being referred to was not the messengers working within aid agencies, Social Care or Bristol Government Services, but towards the unseen larger socio-economic authority who are either unable or unwilling to address the widening inequality gap. It is this unseen element that always raises itself as the inanimate regulating component in the eyes of those most in need. This is the invisible powerful establishment described to me as ‘they’. This is the ‘they I intend to visualize describe and represent within my Body of Work.
Assignment 2 Commentary
The intention of the assignment is to cement the foundations of a new direction. The portrayal of subjects came with a number of ethical considerations that could not be achieved during 2020 due to social distancing measures and therefore an adoption of figurative inanimate objects are used to convey a symbolic meaning.
Much of the work at this stage is seen as a representation of recurring theme which is aimed at leading the viewer to understand my subjective thoughts. The composition is purposely framed to display everyday scenes in a district of Bristol (Stokes Croft)l that is both vibrant in culture and somewhat rebellious towards power. The effects of social inequality, poverty and hardship are visually evident. My own experience has been shaped by my work at St Mungo’s in Bristol and Shelter in London since 1993, communicating with people struggling to sustain a dignified standard of living,
The possessions of an inhabitant of Stokes Croft resembles deserted debris from a distance. Upon closer inspection possessions jump to life, bagged and potentially abandoned. The tight frame provides less ambiguity and focuses the eye upon the bowler hat which I placed as a signified concept associated with an invisible power. The understanding is to attempt to take the viewer to take a second and question ‘ why does that belong’?
The bowler hat appropriates a different element, a different class. It has connotations towards power and money and is designed to provide a juxtaposition amongst the discarded possessions of an unknown character.
The implied narrative is deliberately subversive in an attempt to jolt in an abstract sense rather than shock. I wish to provide a delicate narrative to represent a serious social situation. Bristol reported the second highest number of street homeless nationally at the 2020 rough sleeper street count. The most significant reason was the loss of the assured short term tenancy (AST) where landlords can give notice to evict without reason.
The symbolism attached to the aura of the establishment signifies the unseen power, the influencers, who lobby and persuade forces to keep laws favorable to their own interest. The presence bowler hat is a visual signifier that taps into a viewers existing knowledge and implies the existence of power. The documented presence of all aspects are the reality, with an artificially staged element sitting distinctly on top to connect a contextual relationship between the two distinct positions within a widening inequality gap.
To further enhance the conceptual idea of using symbols to provide a conceptual meaning, I observed objects and items that could be defined as triggers that encompassed ‘the establishment’. These included The Financial Times, a large black umbrella, and a bow tie. None of which are exclusive to a particular class, although work well in terms of their associations with power and provide a defined juxtaposition.
The Financial Times is a unique colour and does not have to be visibly clear in print to be recognized. As part of the assignment I developed the idea to associate an element of the unseen power by using the FT in a number of visible situations where the impact of financial power and influence has significantly affected the widening of the inequality gap.
All the photography is portrayed exactly the way it first appeared to me. There is no attempt to alter, move or add any element other that the presence of the unseen power, represented by the FT shaped ball. The presence of an inhabited tented shelter is intended to connect with the symbolic FT, whilst the space between the two conceptually represents a gap. – On reflection I would attempt to have the FT further away as the staged element. The concept is to stand out as a odd presence within the frame, but also to maintain the natural authenticity of the scene.
The varied environments all felt appropriate to signify the presence of an unseen power and connect the two opposing aspects of society. – The more natural the presence of an inexplicable object, the less awkward the composition felt
Stokes Croft brings swathes of colourful street art, some provocative, but always engaging. As a backdrop to the presence of someone’s sleeping quarters, it acts as a dynamic counter balance and dilutes the presence of the staged stock market data
Finding the most telling composition that best relates all the elements requires some further thought in some cases. Having a human presence may be a distraction amongst a collection that sets a tone to not visually display individuals. There is more tension in this photograph due to the presence of a physical subject.
The signified sense of the establishment sits amongst the reality of a locked and guarded building, uninhabited and guarded to prevent people using the premises as shelter. I photographed many similar buildings to imply the conflict of empty shelter with the overarching presence of the silent power.
For the assignment I also observed natural physical evidence of situations that displayed power without the need to add a symbol to advance the meaning. Some of the photography works within the collection better than others and has provided much consideration. All the work from this assignment is available on my learning log
The plentiful doors that are the fronts to uninhabited buildings became an obsession. I bowed to the opportunity to use this scene of a closed and locked door attached to a scaled image of Bristol housing stock. It may be a little subversive amongst the overall concept, although both this image and below provide a natural juxtaposition that implies a life that is off limits to an ever increasing section of society.
Reflections and Considerations
Having to adjust my photography to logistically and practically work, I have found much to appreciate with regards to a more conceptual style. It is fair to suggest that I would not have embarked on taking the Body of Work in this direction had I not have been forced. It is a challenge that has forcibly opened my eyes to the strengths of social documentary photography and the further possibilities it possesses.
To aid my awareness, I have researched the work of Martha Rosler as a photographer who removed the passive victim and used symbols of destruction to associate her fear for a growing social concern. Allan Sekula’s essays have also provided a widening of my thought processes in terms of associating power and the effects of power.
The ethical considerations before the outbreak of Covid were playing on my mind. The decision after March 2020 was primarily out of my hands and prompted a route to portray the effects of housing inequality without the dichotomy attached to exploitation. The mitigation of this is the lack of visual intimacy which is the trade off that had to be accepted. I will discuss this further with my tutor.
Exactly how far I can take this project is still unknown to me, however, I am considering reversing the juxtaposition and utilizing signifiers that are associated with poverty and homelessness in affluent and prosperous environments. It requires a level of thought as I do not wish to use signs of hardship that are attached to a destructive existence. This is another area I need to discuss further as I go forward into Assignment 3.
Gerard Hilderly Level 3 OCA 