Assignment 3

To Sleep

Rough sleeping in Bristol’s Castle Park is located next to a number of office buildings that have been unoccupied for over 30 years

Having attempted this through various aspects, I opted to maintain the close presence of a tightly framed aesthetic that leads the eye and removes too many busy elements .

As with all the photography, the presence of a rough sleeping environment remains as found. The pillow wrapped in the Financial Times signifies the presence of the unseen power in a way that appears absurd. The visual identification of the duvet, mattress in leaves denotes the reality of inequality which in itself should appear absurd. The meaning is purposely reinforced by the presence of the pillow to hint at a juxtaposition between the visual identification of extreme levels of inequality and the causation that sustains such levels

To Shelter

The placed signifiers within the previous assignment were aligned to not appear to obscure/absurd. Agreement with my tutor changed this position to see how far I could push this element, on the basis that I could reign this back if uncomfortable.

The FT shaped as leaves stands out against the actual leaves is designed to highlight the absurd documented reality of being forced to shelter in a tent in a public park, against the unimaginable circumstances that a modern socio -economic structure continues to produce less affordable housing.

The tight frame enables the relationship between the leaves and curvature of the tent to lead the eye. and back to the FT shaped leaves. The seasonal connotation of leaves blowing into the canvas doorway adds to the sense of looming winter conditions and rising food prices. No tents were seen across the park during the ‘Everyone in’ scheme.

Everyone Out

Sustaining and developing the concept of making the relationship between economic growth and properties boarded up for future development, allows greater artistic license. Fenced off and windows secured with mesh, produced a natural platform for the concept of housing inequality.

Newspaper taped to windows is often seen as a way to signify a vacant property. The building has been vacant for many years awaiting re-development by venture capitalists who use funds to keep everyone who needs to be in,..out.

The concept was never intended to display elements of the FT that could be read (I predominantly wanted the papers distinctive color to be the visual symbol that carries a ‘known ‘message ), however, upon editing it is noticeable that an international housing developer story appears on the left of the window. I retained the photograph as as opportune moment of chance.

To Eat

Natural slopes in Castle Park produce an innovative place to cook. Pans, Logs and utensils deliver a strong narrative regarding the existence of those with no secure shelter. This representation is predominantly presented to magnify and illustrate the use of the environment in order to sustain a basic human function.

Consideration for the relational aesthetics prompts an element of design to the frame. By taking objects that are fixed and placing metaphors for economic responsibility within the frame there is an argument for leading the eye within the natural sense of order. This is an area I am looking to understand more. On reflection I would be more included to place the FT balls in the pan to imply cooking of economic causation. The editing process often forces a desire to be braver and go beyond the principle of leading the narrative through photographic aesthetics. The documented meaning should be stronger and allow my voice to be more prominent.

To Rest

Prior to designing leaves with the FT, I used screwed up pieces of the newspaper to trigger the association. The smattering showed little presence so the addition of the symbol of establishment (bowler hat) added weight to the implied meaning.

From an aesthetic perspective, the shape and form of the blanket is pleasing having witnessed the sign of rough sleeping in a Public Bristol Park. The lofty position of the hat adds an air of superiority and strengthens the message within the context of the overall narrative.

Again, there is a need to be braver, although I find the metaphor of the lofty hat, quite pertinent within the context.

‘Everyone Out’

The image was taken quite early within the assignment, whilst testing the principle of FT Leaves with screwed up paper. Although not ideal conditions (passers by, wind, light) in a walkthrough tunnel, I found the experiment useful for future representations.

The contrasting tunnel wall ads an aura of resistance both physically and mentally. A strewn sleeping bag, sheltered from the elements and possibly waiting its owner to return.

The effects of rough sleeping provide a dilemma for storage. Without provision for storage, there are few options. The economy used to allocate 37’000 emergency accommodation in the UK, has come to an end leaving insufficient funding to secure safe accommodation for many returning rough sleepers. During the ‘Everyone In’ support, images like this were remote. It was alarming how quickly the presence of homelessness appeared in tunnels and public places after the initial financial support was withdrawn .

By observing the early images, I was drawn to this particular representation that due to contending with outside elements adds tension and despair. The colours are more stark against the blank wall and the lack of sharpness, fluorescent lighting provides more drama than the other photographs in this assignment which potentially adds to the connoted message

To exhume power

By utilizing the conditions in my favour, the movement of FT Leaves provides an opportunity to gain some friction. Friction that is elevated through the experience of a long standing derelict building symbolizing abject stagnation of large properties, boarded and guarded by security.

Entry to the old Norwich Union offices for shelter would result in arrest and potential charges, The building consisting of 4 floors and 116 offices has been derelict and vacant for 15 years and is ironically next to the Bank of England offices which are also derelict. The past wealth that exhumes from these buildings may no longer be physically apparent, however the invisible power of the establishment acts like a ghost, until you trespass for shelter.

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To Disappear

The phenomenon of seeing clothes strewn by a nearby tent poses a number of questions regarding someone’s identity, presence or whereabouts.. Ultimately this is a photograph that projects sadness and despair. In these circumstances the symbolism of the bowler hat moves the meaning on from one of inquisitiveness to causation. The tightly framed abandoned jacket takes on a new association with the added relationship of the bowler hat, signifying the absence of overarching economical support. By photographing from height there is a feel of a police identikit about the aesthetic. .

I have some concerns that the level of conceptual imagery that becomes a little distant from the principles of documentary photography. By pushing the conceptual element, there is probably a need to give certain images time and a ‘fresh eyes’ to see how comfortably they sit within the entire body of work

To shelter

By containing the frame to a few elements, feels more in keeping with the overall character of the collection. The shape and form of both tent and FT parcel feel intertwined and related, and no less absurd. The absence of physical presence is substituted by the presence of a lived dwelling within the autumnal constrains of nature. The design connects the connoted elements by encompassing in a tighter less busy frame.

To Communicate

Without establishing an address and amenities it is difficult to gain mobile phone contracts or charge pay as you go phones. Phone boxes still provide a method of communication to liaise with hostels and drop in centres to attempt to reserve a bed.

The tights framing is designed to pull the viewer into the box to resemble the claustrophobic sense of being caught in a spiral. I have not deliberately used semiotic text, and veered away from doing so. However, the text on the poster, repeated on the phone, acts as another voice against the presence of power projected from the newspaper. The paper is deliberately placed in a manner that I associate with people placing it when phone boxes were in common use.

30 Years Unoccupied

The former offices of the Bank of England have been derelict and unoccupied for 30 years at sit on the edge of Castle Park. Boarded up and maned by security to prevent people seeking refuge sleeping, the building is only accessible from the park via these steps. Experimenting with leaves as leverage for a slightly mischievous way of representing the countries central capital reserves, cascading from the 1960’s built façade is the sight of the invisible establishment, taunting those sleeping in tents within the park, whilst the building remains empty after 30 years .

The shape of the artificial leaves is quite prominent, whilst the perspective is taken from a low angle to signify a playful subservient bow to a bastion of a wealth institution. On reflection, there could have been significantly more leaves to intensity the narrative and level of absurdity..

The Declining trajectory

The symbol of a yoyo placed to associate the general downward spiraling trajectory of homelessness. Clothes connote the presence of a living existence at the point when there is little room to drop any further down the social ladder.

The identification of the yoyo could be clearer and when using the FT the presence of stocks and shares page works to a greater extent.

The Gap

The absurdity of allowing properties to remain empty whilst people sleep in parks aided a more serene view of an English park with tapered lawns. By draping the FT (as a newspaper) over the fence whilst framing with a wider viewpoint, there is a more traditional perspective for both the setting and added symbols of developing wealth. The absurdity of the situation highlights the physical gap (fence) and the socio-economic gap within society.

As a photograph this associates the more straight documented reality with the conceptual connoted message, However, the aesthetic feels at slight odds with the collection as a whole due to the wider perspective.

Having photographed a number of ways, I became drawn to the tent against the background of a public park. The perspective did not work if too wide and detracted from the scattered leaves which have to be fairly prominent to be significant. Out of shot is the sight of debris and a potentially damaged existence, which I have chosen to not identify. The portrayal is designed to imply a determining socio-economic factor behind the plight of those without the security of a fixed abode. To widen the illustration to a damaged existence would pull the central focus away from the one area that can change circumstances. Financial support and political will are the prescripted remedies. The achievement of both accomplished a considerable benefit during the ‘Everyone In’ scheme that displayed a desire and will to give everyone a basic need.