NEW BLOG: http://mariyamileva.com/blog/
NEW BLOG: http://mariyamileva.com/blog/
The best way of presenting this photograph, I believe is as page of some advertising campaign for natural cloth/materials/connection. In connection with one complimenting slogan. There could be also a pattern of the “object”, allowing audience to actually feel it and realize why it’s so important to use more environmental clear materials. An A4 add page with a square of that pattern (being as a replacement f the page, like over printed, but ‘alive’) would be perfect for my image. Moreover, the page should be made of scrap paper for better intereaction.
As I already mentioned earlier, with my images I’d like to focus more over the natural cloth of presented scarf, i.e. wool. I believe, in time of fake looks, materials, virtual life and unhealthy food, what is now, people should focus more over keeping the Natural. There is no other thing that this universal relationship – organisms – environment. We shall return more to the mother Nature, keeping and saving it, because it’s part of us and we are part of it. Moreover, keeping it more alive we actually do this for us. I’d like to make an appeal and strongly highlight this.
Nevertheless, colors of the scarf compliment my whole idea, making a mind map with the sun, the air and free space ->freedom, life, etc. I think, the colors of one image are very important for what artist is trying to say. Having a warm, peaceful, organic look, create, investigate and explore the idea. Looking warm not only because of the palette, but for the cloth itself, my scarf pictures help the mind more easily connect with the ‘natural’ idea.
After more editing, I got into the stage, I could say – this is my final image. On first look, does’t seems very different or having lots of editing. But that was my idea. I do not want to focus over editing skills, rather show a connection between nature and human. The scarf itself, being over the tree in the same way it is used to cover human neck, compliment my idea. The “skin” of the tree reminds human skin; the branches remind a human hands. The picture itself, taken form a little below, shows the importance and mightiness of the scarf itself. I prefer, setting the idea of natural, clear, environmental and untouched, therefore I think my edit it completely enough and support my idea correctly.
During my editing, I got into 3 images I’d like to present as my finals. But since, I have to use only one, I’ll think a little more about they way I’m saying what I’d like to and show with my image. Here below are my favorites:
I edit some of my scarf pictures, thinking which one to use for my final. I like the natural colors combining with sunlight and that is the flow I’ll follow for the final.
For my finals, I decided to use four of the images I’ve produced this term. Four self portraits. Four images of myself. Four blurry images, based on my inside emotional status.
My final set is made while investigating already setted tasks, I’ve found and understood several things about myself from myself. Therefore, my last assignment is presented using self portraits. Before the time of Picbod tasks, I didn’t completely see what self portraits actually mean. After Ross Rawlings’ talk, I left the lecture room in thoughts. Self portrait should be something much stronger than snapping yourself for fun. The Self portrait should be a presentation of self behavior, feelings, mood, statement, life. Also, looking into ‘the Self’ is another way of understanding the surroundings – people and places. Investigating a body, a relationship, an emotion is investigating a whole separate world.
Going through a really tough period of my life, I realized I need more time with myself; more time for understanding my own universe and so to be able to understand everything around. Therefore, my chosen pictures are based on the idea of my lost soul. They are not fixed and static, but rather blurry and moving. Appearing and disappearing again. Because, I’m going through a new part of my life, being little lost and confused. The movement shows my floating soul, wander like a ghost searching for answers, searching ‘the Way’, searching itself with hope and wide open eyes. Not sure where to go, what to do, who it is, what it is, but looking forward for a Light. One soul in transformation; born anew, building itself. A soul much stronger, more determined, more purposeful; looking and taking care of itself, trying to heal still bleeding scars. One suffering soul, seeing its whole life different way – much wiser, mature, but, in the same time, weaker and unprotected. Being like a smoke – here and nowhere.
I choose to present them black and white, because grey palette is what the feeling is about – with colors and without – melancholic and lonely; the transformation is coming, but it’s still on its way. This is the reason for all the noise and imperfection in quality, too. They are supposed to be printed size A1, but because of lack of student money, I’ll do just one and the rest three of them – size 6’’x8’’.
The reason of 4 is also not by accident. 4 is the number marked my life with a huge scar. The bleeding scar which will never completely heals. This too which will never pass. A soul, combined of 4, as its used to be, but now – one of the parts is separate and should convertible combine itself with each of the rest three. The pieces go presented in communication by 2. The idea of 2 is that in everything there are 2 sides – dark and bright, before and after, male and female. Therefore, they become one whole piece of 2 couples – each containing one more still and other – more flowing piece; but in the same time, working as good as being separate by one. One soul, two shapes, two truths, four parts, four directions, four ways, four roads, one way out – ahead.
I’m presenting them printed on canvas, because the texture of that material compliments the imperfection of the images. According to Paul Wright – “What is finish is dead”, I see the need of being painted with colors, a bit more, but not completely, finished. Canvas is a material which allows being absorbed, transformed, developed, but also left white, pure and untouched. This is what I’m showing in my photographs – a process, a transformation, a reality; a mechanism, a creature, a life.
They will not be showed in frames, but rather “naked” on a wall, stick with pins. The soul is not completed, the images are not perfect, the presentation is rugged – one rough sketch of a lost suffering soul.
Picbod Evaluation [PDF]
For my final assignment I decided to use 4 images, which I think stand out of all I’ve done this module.
These are my more satisfied images from the re-shoot. This time, I really focused more on the background and the whole idea. Having much clear mind, helps you gain the results you want. Obviously. Besides, ‘What is finish is dead’ (Paul Wright), I don’t feel like being done with this. Moreover, my idea grows even bigger.
Well, I actually got very much into this ghostly-flowing-reminding-of-Paul-Wright‘s view of my current located mind of shooting. Having a deeper thought about it, realized I’m really kind of flowing ghost right now. Therefore, decided to bring this for my final #Picbod task.
After ‘Revisiting’ my self, I re-visit it again. Revision of already taken pictures as well as taking new.
Here some of the previous, but reminding a little bit different flavour, the flavour I thought to give to my final assignment.
From the weekly sketchbook tasks, you should produce a single, lens based exhibition-ready ‘photographic piece’.
Themes contemplated within the lecture series should be addressed within your work, and the same rigour applied to the final product.* In this regard it should be a finely crafted exhibition submission, with great care being paid to its artisanal qualities.
A “Piece” may be interpreted as a single frame, or in it’s broader sense as a collection of images (still or moving) that form a coherent narrative. It should be primarily lens based, though the student shouldn’t be fettered by traditional interpretations of photographic practice and instead should look to challenge them.
The submission must exist both as a singularly unique and finely crafted physical object, as well as being infinitely replicable and readily communicable in a digital form. The student should explore and develop aspects of their final piece that exploit the full gamut ofopportunities available in both the physical and virtual environments.**
In short, you are to submit to an exhibition entitled “Picturing the Body”. This exhibition will be both physical and virtual – your work should inhabit and challenge the viewer’s experience in both environments.
* ‘Why’ is more important than ‘How’ – especially when considering the effects of your work on the viewer (you can seduce them with artifice, but why? What was your motive?)
** In other words – don’t make a picture, and then just stick a virtual version on a web gallery.
Here a test strip of my scarf idea. Unfortunately, this is not the result I’d like to achieve. Therefore, I’ll do my shoot again, using more sunlight and connect this shoot with the one with the model. I know this is not necessary, but my idea is a picture of a model and some kind of slogan “How you could wear our scarf”, like they do in magazines. And near ‘the model’ picture – an image of exactly that scarf, but more close up, focusing viewer’s attention over the material of the object, colors and making him connect it more with the nature. Because the colors are more autumn-ish – connection with nature as trees. Here the sun comes as concomitant part of the whole picture. As a whole – one look gained over natural material presented in natural environment.
Have you noticed that,
it looks like a heart?
But it’s not,
because you broke it.
And now it’s just a ghost
Why he doesn’t have his website or twitter? I’m such a fan and cannot follow him properly.
Sølve Sundsbø was born and raised in Norway. In 1995 he moved to London and began studying at the London College of Printing, becoming Nick Knight’s assistant after just 4 months. Since then, he has become a regular contributor to publications including Italian Vogue,Numéro and Interview. His commercial clients have included Chanel, Cartier, Dior, Dolce & Gabbana, Hermès, H&M, Levis, Nike and Yves Saint Laurent. In 1999 Sundsbø was voted the best newcomer at the International Festival of Fashion in Hyères. Sølve has produced films for Nike, Gucci, Biotherm and SHOWstudio. In 2009, Sundsbø shot a staggering twelve cover stars for The Best of British Issue of i-D which he describes as “pretty hard to forget”. He continues to live in London with his wife and three sons and is inspired by, “the same things as ten years ago: everything, everyone, everywhere, all the time”.
After a little post production on Photoshop, I picked these 3 as my finals for this module.