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These are the notes and the draft from the last two weeks of the project. After seeing everyone else's statement and getting feedback from Aiden and Camryn I felt like the most important thing for me was to dial back all the ideas I wanted to talk about. Obviously my style of photography is very personal to me and carries a lot of depth to it. I think the major struggle for me has been talking about all the things I find interesting in relation to my approach without constantly going off on tangents or drawing repeated examples. The importance going into my final was: consistency in my Ideas, showing where those ideas come from and how my practice actually works in the process of making and developing my final images.

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A final that I presented in class. I really like the composition and imagery here but for the purpose of my project exclusively including walls and texture the added photo felt out of place in the series and not as connected to the methodology and concepts of my project. I would like to use something similar to this in upcoming projects and expand on these ideas with my collage work, but as it relates to using converging posters and textures as a means of messaging within photography I feel this was the weakest of the three. In my new final image *I* personally believe I connect my Concept, Context and Context in a more definitive way across the series.

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Week 10 developments of my idea. Critiquing consumerism and late stage capitalism. Composed of multiple images of advertising and rips and tears along a wall. The purpose is to signal to the viewer the effects of society and the cultural and physical impacts of climate change. What I aim to do is leave a lot to the viewers eye and be more subtle and almost like recognising "a moment in time" that carries this messaging in the world around us that doesn't carry that messaging until you remove it from that context and present it in a way to be analysed

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mimmo rotellas Decollages

This style is one I am trying to emulate through my photography, The way rips and converging materials affects the context that we perceive the objects within the image. Rotella himself says that this artwork was a form of rebellion against the world around him. a protest against "the great grey things" his work actively injects life and energy into the images he uses as materials. Changing the context of all the converging images and presenting them in a way that carries completely connotations is something I find incredibly interesting. Completely separated from the truth of the original photo the purpose is to speak to an emotive response and drive to the extreme the audiences individual emotive response and object recognition.

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the current state of holistic and philosophical messaging in youth culture through memes and humour in a way that, in my opinion, comments on the current general consensus of society and experiences within late stage capitalism and over exposure to media and advertising distractions

this relates to my work as a poetic expression of these sentiments. Resenting and criticising society but recognising the beauty and messages we can extract from the world around us and finding love and beauty within that in order to cope with the dystopia we are living in with corporations hoarding global wealth and driving the climate crisis.

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a jump back to week two showing the sky replaced and masking using the pen tool, quick selection and magic want tool, As someone who has been using adobe software for over a decade at this point I overlooked a lot of this initially but David actually taught me a few tips in the realm of masking and colour correction. I normally employ a lot of layer styles but trying not to do that and applying adjustment layers and stacking them to effectively compose the image in a somewhat realistic way, Definitely not my best work but I'm playing catch up and hopefully my final assessment will be able to show more of my technical ability within the adobe suite.

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The different presentations of the letter A carry different connotations.

From: Visual Perception: Physiology, Psychology and Ecology

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I will post the image I reference in my final written reflection later.

Chapter 9

This chapter describes and explains the ways we as humans recognise objects and image as their connotations. In the case of my project, the discussion of object recognition and movement recognition in a static 2D space is extremely important. The separation of context means the observer is forced to draw from their own experiences/knowledge in order to recognise the meaning or connotation of the object. In my case a manipulated photograph. The observer is both the creator and subject of the experience they have with the image. The experience is curated by my own intentions with the image but without me there to explain it they are left to use their own set of intersecting subjective lenses to try understand messages or signals in the image. In analytical research this is called inter-subjectivity. Ones ability to make purely subjective conclusions based on the "truth" of their lived experiences and their experience with the image.

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Making in action and connecting images through shape/colour and creating image from the abstract photography, a sense of putting meaning into the process of making that is articulated in the final image. Focusing on our ability as individuals to recognise imagery.

extending post truth photography to a purely expressive composition, with the intention of communicating in a way that strips the photos of context and leaves to the viewer to intuitively feel their way to understanding/identifying the meaning of the image

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How I take my detail/texture composition photos.

Heavily derived from @davidcarsondesigner on Instagram however I developed this photography within my own practice and researched outwards from there. Linking back to Donald Schon and Heuristic Inquiry. This exists in a space of post-photography for me, because its photography representing collage as opposed to objective truth. The purpose isn't the subject but the communication of image through the manipulation to appear as a flat image

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Popular designers and illustrators such as Keith Haring and David Carson benefitted from the lack of black participation in the deisgn profession during the late 1980’s surge of interest in rebellious urban style. They shaped new styles and lucritive careers based on bold public vernacular expression such as graffiti and rap, class rebellions and black rhythms, and tribal symbolism. At the first organization of Black designers conference, filmaker Arthur Jaffa cited David Carson’s Ray Gun magazine as offering the best example of a visual jazz asthetic.

The Graphic Design Reader (2017)

This is the excerpt I was talking about as reference to appropriation of ideas and expressionist language

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ARDN632 Week 8 Activity.

We deduced most of the image was created in camera and digitally enhanced through colour-grading and post-production techniques, the only major addition is the composite of the ghost subject and the enhancement of the bathrooms striking green light.

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Imagery concepts produced over the break. combining photos I have taken over the length of the course. These are all handmades and inspired by by my response to environments and emotions. Beauty and looking for beauty is a fundamental part of all human life. I choose to look for beauty in the "pre-loved" nature of urban textures. The world around us is constantly being interacted with by the other people that inhabit it. The outcome of all these colliding experiences is ripped-up posters and worn-out surfaces, and more often than you would think these outcomes provide a sense of "image" or harness a picturesque nature that without the influence of all the people and elements wouldn't be possible. My approach to image and recognising image comes from artistic ideas from David Carson and Jean-Michel Basquiat. Both have been influenced by their own individual cultures of LA surf/skate grunge culture and New York African-American Expressionism respectively. Carson himself on his website references Basquiat and the African-American art culture of the 80s and 90s as a catalyst for his own work. Obviously, collage and these ideas can be linked back to historical movements like Dada. However, I feel as though Dada was more political and tangible messaging about social consciousness, whereas for myself and from my understanding both Basquiat and Carson provide social commentary in more subtle ways in the form of their own expression of emotion and personal experience.

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Week 7 intro to Assignment 2

my aim here is to flesh out and push my own practice already to elevate my composition and connection to an audience through image. My feelings and experiences in the late stage capitalist urban environment. Saturated with information and converging ideas driven by overconsumption. How all these messages within visual language all interact in the physical world, creating details and composition of their own if you were to seperate them from their existing context and manipulate them to create a "flat image"

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Dadas' approach to art was a revolutionary change that questioned and commented on what “Art” is. Marcel Duchamps “Ready Made” series directly questioned the art world by recontextualising mass-produced items or “found objects” in a gallery space as art. The idea of pushing the boundaries of where you can find art is a philosophy similar to my photography approach. I try to push my eye to find “image” or composition in texture and uncommon places. Most often aligned with Punk and Grunge commentary and aesthetics.

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https://www-bloomsburyvisualarts-com.ezproxy.aut.ac.nz/encyclopedia-chapter?docid=b-9781472596161&tocid=b-9781472596161-BED-I024&st=Donald+schon

"While improvization is primarily associated with the performing arts, it is an important notion for design. Designing is a creative act: innovations result. However, in ways that are perhaps quite different to some (modernist) art practices, designing creates newness within limits. Designing mostly happens in response to preexisting contexts of use, artifacts, and stylistic regimes wherein development, improvement, or more innovative outcomes (products, services, etc.) are sought. While a design can and to some extent must be innovative, it cannot be so new as to break with all existing structures for that kind of thing. In this way, a design is similar to an improvisation."

This paragraph says to me that Design Is a constant response to existing products, services, design systems and ideas. Improvising and innovating existing methods and ideas. re-purposing content to enrich the communication of that content.

Edit 18/08/23:

In specific relation to photography. How can I use shape/texture to better communicate my experience with an image? To me this is done through the action of experimentation and improvisation, pushing myself to communicate in an abstract manner in the moment of responding to the image.

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Sorry I added this to the wrong blog

These three images from this series bring together the themes I get from the artists intention. Responding to Post-War era modernity with desolate landscapes in tune with the concept of pure utility and stripping out character. The style itself intentionally takes out the natural elements of photography. Its almost flattened nature due to the technique takes out any focus or specificity that helps develop the feeling of the abstract from humanity. Its very deliberate commentary on modernism is a much more subtle form of post-modernism for the era