During the recent webinar Krishna - my tutor suggested to look at the works of NIck Albertson and the "Contraband' project of Taryn Simon.
My works are currently quite undefined and apart from the technique I use (the HDR mistakes) and the decontextualising/abstracting approach, there isn't any method or formula which would organise the images into more coherent body of work.
(...)While the images depict objects from the real world, they also use the language of abstraction common to painting and works on paper. Because of this, they can be viewed both as abstract paintings to be taken in as a whole, but also as indexical photographs, the minute details meant to be scrutinized. They can be seen as brush strokes from the artist’s hand, or as faithful renderings of what was in front of the lens at the moment the shutter was opened. The images exist in between these two forms and can fluctuate from one to the other. (...) Nick Albertson
The edge of vision. The rise os abstraction in photography, Lyle Rexer
I make photographs that depict not so much the world that exists in front of the camera, but invisible phenomena, which are mediated by the relationship of the situation and the imaging system. As with any organizing principle, the type of information collected is as much a part of the methods used to obtain the data as it is of the field being studied. I make photographic lenses that reveal aspects of the scene that conventional lenses would never “see." My lenses are usually made of mineral oil, corn syrup, water, glycerin, or other refracting liquids. By designing and fabricating my own lenses I can control the quality of the light collected, the size and shape of the image field, and the colors of the scene. This allows me to work more directly with fundamental problems in the processes of seeing and perception, and ultimately ontological problems of the thing and/or scene depicted. I like my pictures to be re-orienting and/or disorienting, revealing the world uncertain. Roger Newton 1998