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Artist Statement
Kevin Griffin, 2013
People, by nature, are dismissive. It is entirely impossible to appreciate and consider every aspect of life which one might encounter. However, dismissing everything can cause a person to lose out on a great amount of knowledge and understanding. The following photographs speak to that effect.
In this series, I chose to use the symbol of a house to represent a person, and the rooms within the house to represent different aspects of that person. In order to serve the concept, the initial image of the house is depicted in a purposely boring and bland way. As such, one is quite likely to dismiss it. Upon proceeding to the next image, I hope incite a certain curiosity and questioning within the viewer of my series.
These images are also entirely constructed, which can hold a variety of meanings in service to the main idea, such as the sentiment that we construct our own identities. In addition, the scale of the photographs is nearly equivalent to the actual size of the model sets which I built for the project, in order to make the viewer feel as if they are looking directly at the models themselves.
By using a square format, I wish to convey a sense of balanced containment which doesn't inspire the idea that there is a great amount of room, but also doesn't give the sense that it is uncomfortable. Also, the quality of light I use in each piece is symbolic of a general feeling, which is in service to the concept of each individual piece, adding another layer of immersion and nuance.
I have always been deeply fascinated with the way people think and feel. Understanding the hopes, thoughts, and fears of others can often uncover a better understanding of oneself. If nothing else, this interest in people has taught me not to dismiss anything. In a world where there is so much to see, why close one's eyes?
Chapter 7 Response
Ah, the age old discussion of digital photography and its impact on the general photographic community. I think the author of Chapter Seven explores the implications of digital imaging very well, detailing many important aspects of the "argument". Yes, there is a difference in the way a digital image is made and stored, but besides that, it is still a field of light of varying chromatic and luminous intensity. As far as "truth" is concerned, I think we have beaten that argument to death. There is a comparative amount of truth embedded in an original digital image as there is in a chemical image. No matter the medium, there is going to be manipulation. It is a fact of human existence, I suppose.
As such, it really comes down to a matter of personal preference. In my case, I prefer film. I like the idea that the image is human readable and tangible. The tonal response and grain of certain print films is suited to my personal preference as well.
• When viewing digital (including chemically printed digital) and chemical images (including digitally printed chemical images), do you personally read them differently?
As such, it really comes down to a matter of personal preference. In my case, I prefer film. I like the idea that the image is human readable and tangible. The tonal response and grain of certain print films is suited to my personal preference as well.
• When viewing digital (including chemically printed digital) and chemical images (including digitally printed chemical images), do you personally read them differently?
Chapter 6 Response
Chapter Six can either be classified as the most or least important chapter in this book. On one hand, its discussion of photography as a visual art medium may have profound influence on how one treats their photography. On another hand, one might say that it simply doesn't matter what the world thinks of their chosen medium and that whether or not their silver-based image is considered to be in the same category of expression as another's oil and pigment-based image, they are still going to continue their image making just as they always have been.
Regardless, I found the book's discussion photographic art history to be fascinating, as much of it has to do with the political nature of the art world, and truly of society as a whole. It seems that as certain individuals form a specific opinion, others (who consider themselves to be of lesser importance, perhaps due to an unduly given social position) will tend to agree and work in service of that opinion. As soon as there becomes a recognized acceptance of the idea or process, many individuals will tend to work in service of their own self-formed opinion. My opinion on the matter was perhaps best stated on page 268, "Creativity resides in the artist, not the technology". As long as there is a desire to create and express (and perhaps a certain amount of direction, not necessarily proposed by external instruction), I feel that the medium is secondary at best.
• What do you suppose will come up in the future of this debate? Especially considering digital technology and mass intangible reproduction of images, where do you imagine photography will stand as a so-called recognized medium in the near future (10-20 years)?
Regardless, I found the book's discussion photographic art history to be fascinating, as much of it has to do with the political nature of the art world, and truly of society as a whole. It seems that as certain individuals form a specific opinion, others (who consider themselves to be of lesser importance, perhaps due to an unduly given social position) will tend to agree and work in service of that opinion. As soon as there becomes a recognized acceptance of the idea or process, many individuals will tend to work in service of their own self-formed opinion. My opinion on the matter was perhaps best stated on page 268, "Creativity resides in the artist, not the technology". As long as there is a desire to create and express (and perhaps a certain amount of direction, not necessarily proposed by external instruction), I feel that the medium is secondary at best.
• What do you suppose will come up in the future of this debate? Especially considering digital technology and mass intangible reproduction of images, where do you imagine photography will stand as a so-called recognized medium in the near future (10-20 years)?
MONDAY AND OTHER MORNING SCULPTURES
This morning, the New Yorker's Photo Booth blog posted about the work of Maia Flore, whose photographs I found to be of great interest. I was particularly drawn by the unity between the figures and spaces in each image. I personally think it greatly enhances the overall impact of the images. The meaning seems reasonably direct, but there is an amount of nuance which Flore is able to convey through her distinct style.
Upon looking into her work further, I discovered that I quite like her poetic and succinct style of photography. She uses the human figure in very interesting ways and has a fantastic command of colour. Please take a look at her website, as there is a lot one can learn from her work. http://www.maiaflore.com/
This morning, the New Yorker's Photo Booth blog posted about the work of Maia Flore, whose photographs I found to be of great interest. I was particularly drawn by the unity between the figures and spaces in each image. I personally think it greatly enhances the overall impact of the images. The meaning seems reasonably direct, but there is an amount of nuance which Flore is able to convey through her distinct style.
Upon looking into her work further, I discovered that I quite like her poetic and succinct style of photography. She uses the human figure in very interesting ways and has a fantastic command of colour. Please take a look at her website, as there is a lot one can learn from her work. http://www.maiaflore.com/
Work in Progress 3
My project is becoming more focused with each critique. My project has already evolved from detailed depictions of rooms within a house which would symbolize various aspects of a person's personality to more obvious constructions with more abstract symbolism. This set of images continues with that, but integrates more symbolic elements with less obvious meanings. Also, these images have moved away from my original idea in the sense that they are no longer simply emotions and simple aspects of a person, but more focused thoughts, feelings, hopes, and insecurities. In this set, I've also dropped the colour effects in the rooms. This conscious choice, but after evaluating the images, I don't believe the gels would have benefitted the content in this situation.
I recently found this post on Alexis Mire's blog. She's a student at UNF with a very impressive and inspiring portfolio. This particular body of work is of great interest because of the way she uses light and color to cast different moods and separate the two frames of the diptychs from each other. I'm also fascinated by how much strong collegiate level art there is out there.
Please check out this series and her various other work on Flickr.
Interview with Bill Armstrong
This morning, the Aperture Foundation blog featured an interview with artist Bill Armstrong, whose work commanded my attention immediately. His most recent exhibition is a series of extremely out of focus human figures in an indeterminate environment. From these abstract images, one can extract incredible amounts of meaning. To me, it seems this is perhaps similar to the way one interprets a scene in the first softly-focused instant that they encounter it, grasping one's surroundings. This work is also very similar to some of the work of Zeb Andrews, whose style I have admired since I began photographing seriously.
Bill Armstrong also has some very interesting thoughts, and I highly recommend reading the entire interview (which is not of an unreasonable length) and looking at some of his other works.
This morning, the Aperture Foundation blog featured an interview with artist Bill Armstrong, whose work commanded my attention immediately. His most recent exhibition is a series of extremely out of focus human figures in an indeterminate environment. From these abstract images, one can extract incredible amounts of meaning. To me, it seems this is perhaps similar to the way one interprets a scene in the first softly-focused instant that they encounter it, grasping one's surroundings. This work is also very similar to some of the work of Zeb Andrews, whose style I have admired since I began photographing seriously.
Bill Armstrong also has some very interesting thoughts, and I highly recommend reading the entire interview (which is not of an unreasonable length) and looking at some of his other works.
http://www.nypost.com/p/pagesix/pornstars_before_and_after_their_sabtH7bHSkybDhKHqhbwGN
Quite coincidentally, I found an article by the New York Post today concerning pornographic images and the altered human bodies which going into the production of such images. There is something fascinating in the visual transformations between the regular women and the made-up versions. There are many debatable points within this single aspect of pornography which could surely carry a discussion for quite some time.
Quite coincidentally, I found an article by the New York Post today concerning pornographic images and the altered human bodies which going into the production of such images. There is something fascinating in the visual transformations between the regular women and the made-up versions. There are many debatable points within this single aspect of pornography which could surely carry a discussion for quite some time.
Chapter 4 Response
Though Chapter Four is seemingly more focused than previous chapters, there is a great wealth of information contained within, and much of the content is of great controversy. For example, the discussion of pornographic images in the beginning of the chapter offers many great discussion points. I can not personally determine whether or not pornography is right or wrong, or whether it can even be so clearly categorized. I do, however take particular exception with the images of post-mortem children. Perhaps it's simply due to the fact that the subject matter is so sad that I disagree with the images, but I do think there is an issue with the lack of consent on the child's part. I understand that it's something that cannot be attained, but as such, I do not think the images should have been made. I suppose it's a matter of personal sensitivity.
• Does digital manipulation of the human body and pornography truly alter perception of the human body or does it simply bring to light a certain aspect of the human mentality which would not normally be a factor?
Work in Progress 2
My project is evolving quite a lot. Though it still begins and ends with the same plain house (in order to represent a plain view of a person), I've changed how I am going to represent the various aspects that make up the person (the rooms) drastically. At first, they were going to be very detailed interior spaces with subtle hints at personality traits. Now, they seem to be more unrealistic and simple, with more poetic messages. This is in part due to the fact that I've realized detailed construction is not going to fit within the format of the course schedule. However, it has come to my attention that this simple approach may be as effective and may perhaps hold more possibilities for expression. I have continued to use the overall color of the room as a form of expression, but have tried to dull it down a bit in a few cases (e.g. images 1-3). I have also begun to think of using digital manipulation in order to further compensate for the lack of time and in order to add to the idea that the images are of imagined and unreal spaces.
Irina Werning - Back to the Future
There are plenty of similar projects to this, I'm sure, but I found this one to be particularly extensive and arresting in quality. The project relates somewhat to the sort of imaging we spoke of in class the other day. I was particularly taken by one of the photographs from the second part of the project (http://irinawerning.com/index.php?/bttf2/back-to-the-future-2-2011/) which involved the Berlin wall in the first image and the current state of that location in the second.
I highly suggest perusing through the work, as it can make for some good laughs as well as a couple of very thoughtful moments.
There are plenty of similar projects to this, I'm sure, but I found this one to be particularly extensive and arresting in quality. The project relates somewhat to the sort of imaging we spoke of in class the other day. I was particularly taken by one of the photographs from the second part of the project (http://irinawerning.com/index.php?/bttf2/back-to-the-future-2-2011/) which involved the Berlin wall in the first image and the current state of that location in the second.
I highly suggest perusing through the work, as it can make for some good laughs as well as a couple of very thoughtful moments.
In relation to the discussion today, pertaining to the part about images being less valuable in the modern day because they are easy to create, I thought I'd share this link. It speaks about someone who has written an algorithm to calculate and generate every possible image. What sort of impact do you imagine this might have? (disregarding, of course the fact that it will take nearly 46,138, 562, 195, 008, 110, 600, 774, 753, 760, 087, 749, 172, 181, 189, 607, 929, 628, 058, 548, 517, 099, 604, 563, 033, 706, 075 years to finish the calculations)
Chapter 3 Response
Chapter 3 is a very rich chapter indeed. There is quite a lot to talk about and many points of contention it brings up. I was especially taken by the discussion of Kodak and their promotion of personal photography by making it quite easy to make a photograph. The dawn of set speed/focus/diaphragm cameras truly setup for the incredible media sharing we are ambushed with in the modern day. As such, the advent of media sharing websites was simply the logical next step.
However, I feel personally that the transient quality of these images has greatly diminished their value, as well as the recognized value of fine art photographs. Because there is often so little involved in a modern personal photograph, there is little thought put into the reading of those images. As a result, people do not initially read as far into fine art photographs.
• What might it take to reinstate the reinstate the value of a photograph?
• Is the intangible quality of the digital process at all to blame?
Vera Saltzman
I found this post on Lenscratch to be particularly striking. There is a terribly frightening yet poetic quality about the dolls when posed with older women. Such a juxtaposition calls to mind introspection about the point in life at which these women are. It brings to mind the consideration of childhood as well as the more apparent uncertainty of death. I highly recommend looking at this work if you have time to, and I hope that everyone has the very best of weeks this week.
I found this post on Lenscratch to be particularly striking. There is a terribly frightening yet poetic quality about the dolls when posed with older women. Such a juxtaposition calls to mind introspection about the point in life at which these women are. It brings to mind the consideration of childhood as well as the more apparent uncertainty of death. I highly recommend looking at this work if you have time to, and I hope that everyone has the very best of weeks this week.
Chapter Reflection 2
Chapter Two was surely quite an thought-provoking chapter, covering many thoughtful bits about documentary photography. I was personally very inspired by the part about documentary photography being somewhat formalized in order to present an objective view of the subjects portrayed. When considering how one might go about objectively making a photograph, there always seems to be some minor detail which prevents complete objectivity. There is always some point in the process where the photographer makes a choice, and that prevents perfect objectivity. However, when one truly looks at a photograph and separates the forms within it from some of the context, there is often an amount of unadulterated truth in it.
I was also interested in the story about Drum and the way it popularized the photographic exposé. Despite the fact that such journalism has been relegated to such fantastic papers as the National Enquirer of late, the photographic exposé is a very powerful form of reporting. As such, it has resulted in many facts being made public and has helped a great number of people. On the other hand, it has also wrongly destroyed the reputations of many public figures such as Michael Jackson by encouraging false impressions as extrapolated from the photographs included in the stories. This sort of abuse brings up the point of journalistic responsibility.
• Is it possible to be entirely objective when making a photograph?
• Should/can there be some sort of proper gauge of responsible photojournalism?
I was also interested in the story about Drum and the way it popularized the photographic exposé. Despite the fact that such journalism has been relegated to such fantastic papers as the National Enquirer of late, the photographic exposé is a very powerful form of reporting. As such, it has resulted in many facts being made public and has helped a great number of people. On the other hand, it has also wrongly destroyed the reputations of many public figures such as Michael Jackson by encouraging false impressions as extrapolated from the photographs included in the stories. This sort of abuse brings up the point of journalistic responsibility.
• Is it possible to be entirely objective when making a photograph?
• Should/can there be some sort of proper gauge of responsible photojournalism?
(Very) Early Images
The following are extremely early images from my final project. Much of the work I have done for the project is currently in the form of pencil sketches as there is much construction involved in the idea and I'd rather plan it very well before I build more intricate props. For the sake of the assignment, however, I made the following exposures in order to demonstrate a basic semblance of the concept I wish to execute in the coming weeks.
Through the development of my project, I've discovered that it will be greatly beneficial to make use of the colours of the rooms as carrying agents for symbolism, such as green to represent envy and blue to represent peace and so on. Additionally, I've learned that the windows within the various rooms can play a role as well. By shuttering some windows, and fully opening others, I can convey the idea that the person represses certain aspects of their personality within themselves. I have also discovered that building the necessary props for the project is going to be much more difficult and time consuming than I had originally thought. Who knew it would take a half hour to make a rocking chair from foamcore?
This is meant to appear unendingly plain in order to encourage the viewer to dismiss it as such.
This scene represents desires within the person, and is repressed, as demonstrated by the shuttered window.
This scene is meant to represent peacefulness and reflection within the person, hence the open window and calm, blue décor.
This scene is meant to encompass envy within the person, utilizing the ever-cliché and often quite useful green colour to convey that idea and a safe to represent a desire to possess many things.
Through the development of my project, I've discovered that it will be greatly beneficial to make use of the colours of the rooms as carrying agents for symbolism, such as green to represent envy and blue to represent peace and so on. Additionally, I've learned that the windows within the various rooms can play a role as well. By shuttering some windows, and fully opening others, I can convey the idea that the person represses certain aspects of their personality within themselves. I have also discovered that building the necessary props for the project is going to be much more difficult and time consuming than I had originally thought. Who knew it would take a half hour to make a rocking chair from foamcore?
Silver Eye Fellowship: Diane Meyer
I am not usually drawn to images that are physically altered in this way, but Diane Meyer's images on the Lenscratch blog are of great interest. In following with the thoughts of Laura Letinsky, the photographs are seen as being physical objects, rather than portholes into another world. It's a different way of seeing and thinking of a photograph, or really any work of art and is surely something to consider when making pieces of our own. As far as Meyer's execution, I think it is spot-on and definitely something worth at least a few moments of your day.
I am not usually drawn to images that are physically altered in this way, but Diane Meyer's images on the Lenscratch blog are of great interest. In following with the thoughts of Laura Letinsky, the photographs are seen as being physical objects, rather than portholes into another world. It's a different way of seeing and thinking of a photograph, or really any work of art and is surely something to consider when making pieces of our own. As far as Meyer's execution, I think it is spot-on and definitely something worth at least a few moments of your day.
Interview with Laura Letinsky
This week, the Aperture Magazine blog conducted an interview with artist Laura Letinsky, with whose work and thoughts I am greatly fascinated. Through still life photography, Letinsky conveys very interesting concepts which cannot be properly (or even remotely, for that matter) communicated with words. As such, her images are visually arresting as one tends to distill a general feeling from each piece.
Her thoughts on photography are also very interesting. I was especially taken with the part of the interview where she speaks of the capability of the photograph to normalize the value of all objects within, stating that "a piece of schmutz and a Tiffany diamond become the same thing once they’re photographed—they become photographs". Though I do not necessarily agree with everything she says in the interview, I feel that there is much that one can extract from this posting for use in their own process of conceptual thought, consciously or otherwise.
This week, the Aperture Magazine blog conducted an interview with artist Laura Letinsky, with whose work and thoughts I am greatly fascinated. Through still life photography, Letinsky conveys very interesting concepts which cannot be properly (or even remotely, for that matter) communicated with words. As such, her images are visually arresting as one tends to distill a general feeling from each piece.
Her thoughts on photography are also very interesting. I was especially taken with the part of the interview where she speaks of the capability of the photograph to normalize the value of all objects within, stating that "a piece of schmutz and a Tiffany diamond become the same thing once they’re photographed—they become photographs". Though I do not necessarily agree with everything she says in the interview, I feel that there is much that one can extract from this posting for use in their own process of conceptual thought, consciously or otherwise.
Chapter 1 Response
Chapter one was surely a very fascinating chapter encompassing a lot of information. Despite being the very first part of the chapter, I found the quote, "...the illiterate of the future will be ignorant of the camera and pen alike," to be inspiring of much thought. From one perspective, one can argue that a photograph is not much different from a traditional illustration when it comes to the intended communication of complex facts. However, one could also argue that a photograph differs in the fact that it often communicates ideas which are unintended, often in minute details. It would seem the difference between a traditional illustration and a photograph is the matter of intention and the lack of necessity for it in a photograph.
Discussion questions:
• What are your thoughts on the quote in the beginning of the chapter, "...the illiterate of the future will be ignorant of the camera and pen alike"?
• How has the camera changed the way people read images of various media?
Discussion questions:
• What are your thoughts on the quote in the beginning of the chapter, "...the illiterate of the future will be ignorant of the camera and pen alike"?
• How has the camera changed the way people read images of various media?
In preparation for Heidi Romano to be a guest curator on Lenscratch, blogger Aline posted several examples of Romano's work on the site, some of which I am very interested in.
The first series in the post is called "Am waldes rand (Forests edge)". This body of work drew my attention very quickly. Initially, I had sort of dismissed the photographs as being common landscape photographs, but in time, I found them to appear to mean much more. In all their subtlety, the compositions seem to depict an overwhelming dominance of the trees in this forest, and the secrets they might hold. I look forward to see what work Romano has to share next week, as she obviously has an astounding eye.
Artist Preference
The following are some artists I find interesting, as chosen from a list of many other great artists:
Gregory Crewdson
Edward Weston
Hiroshi Sugimoto
Susan Derges
Cindy Sherman
Larry Sulton
Taryn Simon
Sharon Lockhart
Paul Strand
Henri Cartier-Bresson
I tend to find that there is a certain aesthetic commonality throughout the work of many of these artists which I prefer, as well as their approach towards visual expression.
Chapter Selections
Chapter 1: Chapter one seems to be somewhat of a preparation for the rest of the book, and therefore touches on topics in a way that is relatively brief but informative. As such, it appears to be the sort of chapter that would encourage me to further pursue the various topics addressed, which I like to do quite a lot. I am also interested in the analysis of the Migrant Mother. It'll be interesting to see what sort of details they address in the text.
Chapter 6: I've always been interested in the history of photography and the way it's evolved as a medium for art, especially in the past half century or so. Also, I think the concentration on landscape photography will spur quite a bit of conversation, as everyone has their own opinion on that sort of thing.
Chapter 7: I have some strong opinions on several of the topics covered in this chapter, and I think it'll be good to read/hear what a college professor has to say about things. I know there's quite a lot of turmoil, with the rapid development of stunning digital technology and the instant gratification and seemingly cost-free nature of new imaging systems, especially various software technologies such as the ever-popular Instagram. I'm excited to see what sort of discussion will stem from this chapter.
Chapter 6: I've always been interested in the history of photography and the way it's evolved as a medium for art, especially in the past half century or so. Also, I think the concentration on landscape photography will spur quite a bit of conversation, as everyone has their own opinion on that sort of thing.
Chapter 7: I have some strong opinions on several of the topics covered in this chapter, and I think it'll be good to read/hear what a college professor has to say about things. I know there's quite a lot of turmoil, with the rapid development of stunning digital technology and the instant gratification and seemingly cost-free nature of new imaging systems, especially various software technologies such as the ever-popular Instagram. I'm excited to see what sort of discussion will stem from this chapter.
Featured on the Flickr Blog today, Matthew Albanese is a particularly interesting artist for a variety of reasons. He creatively uses unexpected materials to build fascinating worlds with astounding realism. Having such control over the scene allows for him to make nature and landscape images which display conditions ideal for what he means to express. As a fashion photographer by day, Albanese has an understanding of color and light which makes for photographs that are compelling enough, without even knowing that they are dioramas. In particular, I quite like the subtle way in which he uses light to alter the mood of an image. Be sure to look through his Flickr photostream (which has some interesting behind the scenes photographs) and consider buying his book, "Strange Worlds" which is slated to be released some time this spring. |  |
It's been quite some time since my last post, but that's because quite a lot has happened. College has started, I've been given a Hasselblad, and I've exposed rolls upon rolls of film. For the coming year, I have many images planned and a whole new portfolio coming together. Much more to come soon, and best wishes for the holidays and such! |  |
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I've been doing an awful lot of audio mixing lately with my friend Henry. It's rather draining after a while, but some good has come of it. Henry has a sort of waterside area adjacent his lot and we've spent a fair amount of time there, in attempts to escape the electric drone of various bands we record throughout the area. The scape is really beautiful, especially in the twilight. A wonderful contrast to the stuffy mixing room and a great place to take the Rollei. |
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