I started to think about how to present my photographs. I think this has been one of the most mixed areas of my project.
One aspect that went well was my presentation of some of the architectural studies of 70s estate architecture. I continued to take ideas from the work of Hockney and Brion Gysin by sticking multiple photographs together into a collage; I took the collage element of Hockney and combined with the architectural study of Gysin.
One of Gysin’s Paris photomontages.
This seemed quite derivative to me but I did come up with some original ideas; first I chopped up the pictures of the flats into perfectly square units to reflect the architectural design. Secondly I came up with the idea of using the cut away parts and then sticking those parts together. I loved the result which ended up being a sort of non existent impossible building derived from the real one. I also really liked the strange perspective effect.
I like the strange curve of this
And the stranger curve of this
I had some success arranging my photographs of shadows. I stuck them down in a simple series of seven. Then I noticed that turning the photographs upside down emphasised the shadows; they became looming black figures. This was a happy accident which is my favourite of all things.
I had less success arranging my findings with the cranes. I hadn’t got most of the reshot pictures printed out yet so had to use my earlier findings. I arranged the nine best photographs in a grid but really I don’t think this put across what I was trying to say. I think the study of the building site was a much grander idea and would have to have a slightly longer period of work put in to do what I really wanted.
All of this was done on heavy white paper which I think was sufficien as a framing device; in future I would like to try using black paper.
One artist who I think is brilliant at arranging photographs is the German Turner Prize winner Wolfgang Tillmans. He exhibits all his pictures in only three sizes and arranges them in really interesting combinations along the gallery wall; the eye is drawn to large images and then focusses in on the smaller, and interesting juxtapositions of contrasting images are used heavily. In future I would love to undertake a more ambitious project arranging photographs using ideas like this.
One of Wolfgang Tillman’s exhibitions