Curating the evidence

As advised by Chris from the Ashmolean in Oxford, having a ruler to describe the size of an artefact is part of an archivist’s standard process when cataloguing finds. I have made composites of various items and created images of single items as if they were evidence. I have spent some time to try and ensure that the scale is correct – although their depiction is clearly different. The number of items left of him become, seemingly fewer. These objects are a selection of a very few personal possessions of my father after he died some years ago.

The next stage is to sequence the landscapes, artefacts and texts into a ‘tighter edit’ for assignment four. The scales can clearly be seen to be different on these images, but I’m interested to see what, if any reaction, people might have to the scaling – is larger more effective than smaller?

 

Advertisements

re-photographing what’s left

 

 

 

I have spent the afternoon in make-shift studio (the builder we have in at the moment has commandeered where I would normally go!). A few of these objects will need tweaking to resolve the discrepancies between colour temperature and brightness &c. Overall I am quite pleased with the consistency. Thinking about this now, the paper choice will be important as I want to have the flexibility to place these objects on a page on their own but aligned to a landscape. The ruler might be used to provide a scale – not entirely sure about that yet.

My next assignment (4) will be to edit the landscape images,  these objects and the texts that I have collected in a sequenced edit. My thoughts are that the landscape images from Purgatory won’t be very large – perhaps no bigger than A5. I want these objects though to be near ‘life-size’ – which, when they are presented next to the landscapes, will introduce a dynamic to do with scale, and maybe the ‘real’. I need to find more texts.

 

 

claspc2 copper studc2 ring4c2 ring3c2 ring1c2 ring 2c2 necklacec2 cufflinks2c2 cufflinks1c2 ring5c2 ring6c2 ring7c2 ring8c2 scalec2 stud1c2 stud2c2 studsc2 studs3c2 studs2c2 stud7c2 stud6c2 stud5c2 stud4c2

They fuck you up

A little while ago I met up with John, he had been to the exhibition at the South Street Gallery and had commissioned a print – unframed and unmounted. He has been a support for my work and has several prints of mine which he only buys as described – I wonder where he stores them. John and I chatted about a few things, I think he misses conversation as he wife is now in care-home to which he visits every day, and he seemed genuinely interested in my work, how I had contextualised it and how I have envisaged it as a body of work – at Oxford John had had tutorials by JRR Tolkien and was at school with Tolkien’s son Christopher, I mention this to situate his place in time and space.

When I collaborated with John in making a self portrait he provided me with a file of 36 images of his books, which I then mixed with an image of him, I was very pleased with the outcome and so when I received another email from him recently with some literary references for my work I was thrilled but not surprised.

There were three ‘father and son’ references which came to mind, but none of them involve physical violence. The motivation for all of them seems to me much more trivial than what you appear to have in mind, but you might, nevertheless, be able to make use of quotations from them.

The first is a memoir aptly enough entitled “Father and Son” by Edmund Gosse. It was published in 1907 and is an account of the battle of wills between an a Victorian scientist/academic and his son on the role of religious belief in life. It is written from the viewpoint of the son and the father emerges from the book as a sort of monster determined to impose his own extreme religious bigotry on his offspring. It is a literary classic and once you have adjusted to the somewhat dated style of writing, well worth the read. It may well contain quoteable passages for your purpose. It should be readily available from the library, but, if not, you are welcome to make use of my copy.
My second author is John Betjeman. There are references dotted around his poems to the strained relationship which developed between him and  his father. It stemmed from his adolescent refusal to follow in his father’s footsteps as the director of the family business.
     Fourth generation, John – they’ll look to you…………
     I was a poet. That was why I failed……………………..
     Black waves of hate went racing round the room.
     My gorge was stuck with undigested toast.
     And did this woman once adore this man?
     And did he love her for her form and face?
     I drew my arm across my eyes to hide
     The horror in them at the wicked thoughts.
These are quotations from Summoned by Bells, chapters 2 and 8, which deal mainly with his estrangement from his father.
My last literary reference is to Philip Larkin’s poem “This Be The Verse” (They fuck you up, your mum and dad).
It is a pretty obvious quote, but if it is apt for your purpose I see no reason why you should not use it. It is a wildly over-the-top response to Larkin’s feelings of embarrassment about his parents. In actual life he recognised their virtues as much as their deficiencies and respected them both.
Best wishes
John”
The weather has been too nice to wander to Purgatory and I’m hoping it will deteriorate soon; but I continue to walk around my home and purposefully take a camera with me. John’s references are of a specific time and place, though Larkin’s fuller text seems as apposite as any I’ve read:
They fuck you up, your mum and dad.
They may not mean to, but they do.
They fill you with the faults they had
And add some extra, just for you.”
This summer’s determination to make imagery and follow the course I’ve set for the course I am undertaking is still holding. Though the news that Sharon is moving on will likely test that resolve. Good luck Sharon and my best wishes for wherever you land. Pretty pictures….

 

Purgatory exhibition

I’ve just been told that my exhibition will be held over for another six weeks – which means it will have been on the wall for three months! Recently I went back to the gallery and met up with fellow student (now graduate) Keith Greenough to view the show. I was quite pleased with how it looked. I am meeting with some students this weekend to talk about the work.