Oral presentation

The summary of my current production and presentation methods. 

Password: Byproducts

REFERENCES:

David Hurn, Clare Grafik: I'm a Real Photographer: Photographs by Keith Arnatt

Mark Klett and Byron Wolfe, 2008. Buttes of the Moenkopi Formation near Lee's Ferry, Arizona.

Piles of circuit boards from hazardous computer waste. Source:Greenpeace, 2014

John Stazeker,He (Film Portrait Collage) II

Paint Trolley, L.A. 1985, David Hockney, photographic collage

GoPro5, Radek Runowski, Screenshot from the video recorded by GoPro camera lost in the water 

 

Exhibition

Landings 2017 - Work in progress exhibition. Northampton, UK

As planned, my exhibition took place at my workplace - Barclaycard office in Northampton. It is a very informal and rather quiet exposition, placed in the area designed for hiding and focusing if the open space is too challenging. I am happy I decided to change my initial idea of having the works on the walls right next to my desk as it would be disruptive for me and the rest of the team. The final space is just a couple of meters away, but because is separated by the translucent panels it gives the sense of privacy and comfort of looking without being observed. There is as well very convenient space for the publication (my third dummy) to look at and leave the potential comments. 

It was a good experience to talk to a small group of people about my project. I think there was a genuine interest in what I was talking about and a couple of interesting questions. 

I hope I'll be able to share some comments at the end of the week.


17 August 2017. A couple of comments:

Publication dummy v3

I created my third version of the photobook dummy. I thought about the new concept for quite a while as I didn't want to continue with the idea of the accordion style layout in a box.

It is a quite controversial publication and calling it photo-book is rather symbolic. The idea came from the desire to give the viewer a chance to experience the photographs as an objects - to touch the surface, stick on the wall, take away or use in any other possible way. 

I gave the publication some structure and grouped the works in some way but I left the potential owner of the ‘book’ the freedom to regroup (or maybe add some other works) - hence the blank labels on the cover of each chapter/folder.

I think the element of surprise and the tactile qualities are a big advantage but I don't like the fact that the whole object recall the folder with documents. I know what to do next though. I think I will try to do more conventional publication but with some elements from the current version. The traditionally composed pages will contain photographs, text, some non-photographic images and other graphical elements but there will be a couple of sections with loose photographs hidden in the holders/envelopes. Looking forward to it.

Video record, Rita Rodner


Now when I put my own hands on this form of expression I really respect any publication and truly admire the good ones. I own a couple of interesting photobooks but I'd really love to attend some photobook fairs or festivals to see more...and learn.

There is one publication I really admire (same as the rest of the world) and hope I will buy my own copy one day. It is Afronauts by Cristina de Middel. It looks wonderful. It's interesting and beautiful and the form is actually not very unique. The content is, and that's what matters.

Publication cover, Rita Rodner

Publication cover, Rita Rodner

Publication sections, Rita Rodner

Publication sections, Rita Rodner

M3 - Week 9: Workshop

The worksop I run on 30th of July was a combination of the drawing and painting activities focused on the body, materials and objects subject with some photographic techniques proceeded by the introduction about the about my artistic practice and the influence of optical devices on traditional art.

I have never run any workshops before and was prepared for the total disaster. I usually don't feel comfortable speaking in public but this time I felt completely calm and self-confident which helped enormously to build the right atmosphere for the quite experimental agenda of this workshop (which originally was supposed to be a traditional figure drawing class).

Camera obscura projection, Rita Rodner

Camera obscura projection, Rita Rodner

The camera obscura projection was one of the biggest highlights of my workshop. I think everyone have to experience it by himself to understand the incredible feeling when the image suddenly appear on the surface.  

I thought that, thanks to the presence of the model, it will be a great opportunity to investigate the visual potential of the human/objects/materials interactions and record the spontaneous performance happening in the studio but i didn't predict that I will be so preoccupied with the workshop agenda that I won't have a time to focus on observing and photographing the situations I had in mind. To be fair, I had only a vague idea about what I want to achieve on my photographs there. I was hoping that the situation itself will generate some spontaneous opportunities but I was too distracted by simply managing the whole event, talking with people, discussing the poses with model etc.

I took some photographs but they're rather the documentation of the event than intentional captures of the human-object interaction which could feed into my research project. I think I will focus on more abstract expression of this subject with the focus on the traces/evidences of human presence.

Workshop shots. Model: Laura, photo: Rita Rodner

M3 - Week 8: Workshop Guidance

Workshop poster. Rita Rodner

Workshop poster. Rita Rodner

I feel lucky with the workshop as I had one planned not long ago and I only had to adapt it to my research project. It will happen on 3oth July at Stamford Arts Centre where I attend the life drawing class since last year.

The organisers (Welland Valley Art Society) gave me a freedom to transform the structure of this workshop into more experimental and multidisciplinary activity which will combine drawing/painting, photographic techniques and elements of performance - all focusing on the subject of body, objects and materials.

Low fidelity schedule:

  • The stage will be created in the middle of the studio where the model will interact with objects/materials - the subject of my research project.
  • The participants will be asked to focus on the composition (rather than the details of the body or props) and arrange the elements on the paper/canvas in a way they would crop the photograph. I will bring some cameras and viewfinders to help frame the composition.
  • I will try to initiate the conversation about the influence of optical devices - the predecessors of photography, and photography itself on art ( I am going to mention the David Hockney's 'Secret knowledge' documentary)
  • I will demonstrate the camera lucida functionality
  • Camera obscura will be created in the studio during the lunch time break
WIP. Rita Rodner

WIP. Rita Rodner

I already started to explore the visual potential of the direct presence of the body in relation to objects/materials on my photographs. I am hoping that this workshop will bring a lot of new ideas and interesting records to analyse.