EVALUATION

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Final Major Project 2019

 

‘Adversity’

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During completion of the ‘Generating Ideas’ module within the Foundation Degree, I had initially decided to shoot architecture for my Final Major Project (FMP), it was my intention to incorporate urban street photography within my architectural images.   

 

Whilst working through the scheme of work for the project, class members met up for the first few weeks to discuss our ideas together.  The purpose of this was to critique each others ideas, research and development. 

I explained that my initial idea had shifted slightly from urban buildings to doors and windows.  I was asked why.

  

I have difficulty verbally explaining what I am thinking, I just kept saying that I wanted to show emotions through doors and windows.  At first I didn’t want to disclose what emotions.  The idea needed a core reason, what am I trying to say.  

 

The third week we met again when one of my classmates asked, “Are you trying to explain your anxiety in these images?”.  This then gave me the courage to explain the guts of my FMP idea, the core of what I wanted to narrate through my images.  I disclosed that I was still suffering from post-traumatic stress due to the fact that I was put under surveillance 6 years ago and I constantly think that I am still being followed.  I explained how it had affected me as a person and how for a long period of time I could not leave my home without having panic attacks.  I then could reveal the reasoning for my anxiety, and how doors were barriers, and windows my view, to observe and check I was not being watched.

 

Finally I have been able to share my inner demons, which in return I found a strong theory for my FMP.   At first I researched aesthetically pleasing images of doors and purchased two books;  ‘Door J’Adore’ by Nick Rowell and ‘The Practice of Contemplative Photography by Andy Karr and Michael Wood.  The second book turned out to be invaluable and has taught be how to look deeper into photography and how to use it as a form of mindfulness.  I attended libraries at the Atrium, University of South Wales (USW), Cardiff Central and Caerphilly.

 

I have attended exhibitions and photography talks on how to manage a project.  The Diffusion Festival at Cardiff gave me an array of ideas on how to exhibit my project.  

 

My research progressed from photographers that had specifically photographed doors, towards documentary photographers that have created photo essays, such as Duane Michals (portrait narrator), Lewis Baltz (new topographics), Robert Frank (documentary), DonMcCullin (journalist war photographer), Martin Parr (social documentary) and contemporary photographers Paul Sanders (therapeutic), Jon Pountney (documentary), Michele Iverson (surveillance), David Tambuchi (street photographer) , Divyakshi Gupta (travelling), Michael Wood and Andy Karr (contemplative).

 

I have taken over 1500 images and visited 10 locations or more to make images that narrate my story.     I began by taking images from home, looking out.   The project led me along a different path to the type of imagery I first thought I would be taking.  I was looking closer, and interpreting imagery with a different view.

 

The selection process was difficult because I had so many choices, I had taken so many images.  The reason for this, is because everywhere I go, I am still remembering that I was followed, and that I still could be.   I am also very passionate to show the viewer this torment.  

 

I have not annotated every individual image taken.  However, I have summarised each series of images taken as a set to illustrate how they shape the project.

What I have learnt from this project is that an image does not always need to be aesthetically pleasing or dramatic to be powerful and deliver the message.   

 

I have worked very hard on this project, 5 days a week on producing the best work that I am capable of. I may over complicate things and display obsessive traits; in particular attention to detail.  This is due to me being high functioning on the Asperger’s Spectrum.  My working progress does not always flow in a chronological order,  I am so enthusiastic to see the end product, that I seem to work in reverse order.   I then have to unravel what I have produced to be able to present it in a way viewers can understand.   

 

I have thoroughly enjoyed this project and have found a direction in my photography.  Completing this project has provided me with a focus and has hi-lighted to me that not only do I wish to be a charity photographer, but I would like to promote therapeutic photography to help cope with mental health issues.