23rd October 2020


Hall Place and Gardens hallplace.org.uk

When I lived in Kent, before my move to Lowestoft, I was the assistant co-ordinator for Centrepieces Mental health Arts Project which I helped to gain charity status.

We encouraged people suffering with their mental health illnesses to come to our studios at The Lodge, Hall Place and Gardens to participate in workshops which I also tutored within. It is while working at Centrepieces that I rekindled my love for photography and all things art.

Although I left Kent and moved many miles away, I was lucky enough to be asked to become a permanent artist with them who would still take part in their exhibitions and Zoom workshops.

The theme for this years exhibition was lockdown and the work we produced within it. ‘Lockdown Art Exhibition 2020’ saw me show work that I had created during Assignment 5 for this course and sculptures that I made to accompany the photographic images.

The following images show the team that I was working with setting up the exhibition and some of the work that was for show.

Concepts in Lockdown

I called my series of work ‘Concepts in Lockdown LIFE’S A GLITCH’ and my artists blurb to accompany the series can be seen below.

For the exhibition I thought about different ways to present my images rather than just the usual, print and frame. Although I have a number of ways in which I want the Assignment 5 images to be presented next year for my solo exhibition, for this one I took the acrylic and instant photograph route.

Acrylic Blocks

For the acrylic images I had them produced at one of my online printing companies, this time I used ‘My Picture UK’ my-picture.co.uk and I chose their 20×15 cm size.

Acrylic Photo Block – Memories You Can Touch

Acrylic Photo Block with Three-Dimensional Effect

The acrylic block comes in a generous depth of 25mm, as a borderless design with transparent edges. The thick acrylic glass will enhance your photo with a striking depth effect, creating shimmering reflections that subtly change with the angle of vision – so your image takes on an almost 3D quality. Watch in wonder as your photo seems to come to life. The acrylic block photo really does bring a whole new dimension to home decor!

Acrylic Block with Crystal-Clear Photo Display

We pour the premium-grade acrylic for our photo blocks in special instalments to make sure each one is flawlessly clear. Printed with our state-of-the-art 12-colour technology, your cherished image will glow with radiant colours and subtle gradients. With its borderless, crystal-clear design, the photo acrylic block will suit a wide range of interior decor styles, and give any design scheme the stamp of refined sophistication

​Premium Decor Item at a Modest Price

Looking for an acrylic photo block at an accessible price, without any compromise on quality? Then our personalised acrylic photo block is for you. The acrylic block is a premium-quality decor item that’s worthy of your most precious photo memories. Just upload a beautiful landscape from that dream holiday to create a stunning decorative piece for your home – or choose a photo of the kids and your acrylic block will make the perfect desktop ornament at work.

Free-Standing Decor Piece

The acrylic photo block is designed as a free-standing item – it won’t need any installation or additional support. Just stand it on any flat surface and watch it become the centre of attention right away! Produced using resilient acrylic glass and coated with a special laminate, it can withstand everyday knocks and scratches with no problem. As robust as it is elegant, the photo acrylic block is sure to look beautiful in your home – or make a touching personalised gift.

My Picture UK my-picture.co.uk

The reason I had chosen the acrylic block format was because the exhibition this year was low on sculpture due to the lockdown and Covid-19 keeping everyone away from the studios. Due to this I decided that I would produce all of my work so that it would be able to be displayed on plinths, the acrylic blocks are free standing and suited my needs well, as I always like to try different ways of presenting my work.

Examples of my acrylic blocks in situ

To accompany the acrylic blocks I printed out some of my images on my FujiFilm Square Printer which produces Polaroid style prints.

Fujifilm Instax Square Prints

Fujifilm Square Printer image from Amazo.co.uk

Once the images were printed I had to think of a different way to show them so that they stood up. I decided to buy some acrylic block place holders cheap from China. On their arrival the acrylic was quite stained with bits floating inside it so I painted the blocks black. Each tiny block has a peg on them to holder the images and they stood up well. To emphasise the images I bought some glass on which to stand the blocks so that they were reflected to play on the concept of glitch.

I also produced two pieces of sculpture to accompany the photographs both of which were also glitches of myself. The first sculpture ‘Life’s A Glitch’, is based on the sliding glitch and shows the mask that I wear slipping off to the left twice. This is accompanied by lines and cuts to represent other types of glitching. Since the sculpture is three-dimensional we get to see the glitches in layers. By adding a textured spray to the completed paper-maché piece I was able to obtain the stippled effect that the interference on video produces.

Life’s A Glitch (1)
Life’s A Glitch (1) showing the layers

The second sculpture was constructed from Modroc which is a plaster bandage which once wet can be shaped and layered according to ones needs. For my sculpture I cast my face with the Modroc by building up rough layers until I gained the desired effect that I was wanting. The effect that I wanted to achieve was rough edges and texture. The reason for the different textures was to produce a glitching effect where the fibres of the bandage looked as though they were broken lines amongst the smoothness of the correct form.

Once my face had dried and had been given a couple of coats of acrylic paint I added twisted coloured wire to it. The wires were bright colours as to match those seen in my anxiety photograph and they travel across the face from right to left and formed a cage around the face. Rather than having the wires attached to the surface of the face I left them gliding over the negative space so that yet again the three-dimensional aspect of these glitches were emphasised.

Life’s A Glitch (2)
Life’s A Glitch (2)

To break the glitch theme up on the plinths I also created a few pattern acrylic blocks both in black and white and in colour. These patterns were designed by myself in an iPad app. I decided on patterns that weren’t random lines like the glitches were, they were mathematical in shape and pleasing to the eye. By breaking up the series and placing them in two separate areas it gave the viewer time to take in the images, pause and move onto the next piece of work. I feel if I had presented just the glitch work it would be quite monotonous and quite a lot to take in on the spot.

The below image shows the pattern blocks together before being arranges on two separate plinths with the acrylic glitch self-portraits.

The pattern blocks


The images that I had used for the acrylic blocks for this exhibition were not ‘the best’ that I had produced for Assignment 5 but they still came together as a series in exhibition well. I believe this is because they were not just prints that were framed but a combination of different ways of presenting photographic images which creates an extra interest.

Using contrasting patterns blocks also worked well. Perhaps I could try making acrylic blocks that would contain actual glitch patterns with out any actual image. I have already designed some when I was experimenting with glitch making so this is definitely something I can trial before exhibition next year.

Another area that I could think about is the sizing of the acrylic blocks. they come in various dimensions. For this exhibition I just used the 20x15cm format but now I know that images work well presented in these blocks I would like to experiment with purchasing different sizes to exhibit together which would provide variety to gain the viewers interest.

Over all I have to say that the verbal feedback has been very positive for my work. I have had interest in that people want to purchase my work but unfortunately due to the fact that 45% of my pricing goes to Centrepieces and Hall Place between them my prices have risen accordingly. If I were to have my solo exhibition as planned with Centrepieces then the commission is a very low 20% which means my prices will drop accordingly and they will be more affordable for the general public to purchase.

17th January 2020


landscape-portrait-still life

Choose a subject that you would like to photograph. Take this subject and add to it elements of other genres.

OCA Foundations in Photography Course Folder pg110

I am quite confused with the wording of this exercise, coupled with the image in the course folder and then on further research, confused with the different outcomes that the OCA students have come up with.

Some students have taken a manipulation approach by using for example, Photoshop and adding other elements into a background image, yet others have combined genres within one photograph. So I presuming it is left up to our interpretation?

What is clear is that the subjects cannot be randomly put together therefore they must have a relationship and/ or a story to tell?

“Oh where were you, my Lord, my God, my King?”

I have decided to go with the manipulation approach as the image that accompanies the text in the folder by Penny Watson and also by Stan Dickinson are adjusted images. I am therefore thinking that the visual clues on pgs110 and 114 coupled with the phrase “Take your subject and add to it elements of other genres” means just that WE ADD TO and not just take a photograph with mixed genres within the picture frame.

For this exercise I wanted to produce something I could use within my exhibition that I am working on called ‘Resurrection.’ The title’s concept is about what happens after the domestic abuse has stopped, the rising up again from the trauma into the new self, it is a very long and complicated process.

I also use to go to church and belong to a house group and went to specialised church meetings and conferences. Over the time I grew angry with God to the point I cannot bring myself into acknowledging or questioning whether or not he exists anymore. This is because I have had so much crap in my life thrown at me.

I wanted to somehow make an image that had these emotions and ‘state of being’ words within it: Despair, Hope, Darkness, and Saved etc…

The three images used for this exercise: Still life, Still life with text, Self-portrait

18th January 2020

Still life – PEACE GLOBE, Norwich Cathedral

The Peace Globe in Norwich cathedral is a sculptural construction where visitors are invited to light a candle to place before God their concerns for the world. The candles represent prayers for peace in the world and symbolise the light of Christ.

I have taken this concept and altered it so that for me, personally, the Peace Globe changes from a vessel of hope which contains the cross of love to a spherical trap. In Christianity terms the cross symbolises love, freedom and eternal life. Yet you could see the cross as a symbol with many contradictions, these are just a few learnt from one house group meeting that I attended.

  • Death ‘v’ Life
  • Hate ‘v’ Love
  • Violence ‘v’ Peace
  • Accusation ‘v’ Forgivness
  • Sin ‘v’ Purity
  • Brokenness ‘v’ Wholeness
  • Defeat ‘v’ Victory

For me the globe represents a prison around the cross which symbolises where God is not concerned with what has happened to me or that which I am going through daily. My prayers and calling out for help fell on deaf ‘God ears,’ so the candle that has not been lit yet in the background image of the globe, represents the failing of my prayers, my calling out has not been heard, I have not been acknowledged.

Still life? I haven’t got a clue!! – DARKNESS

I am finding it very difficult in placing my image of darkness into a genre. I have put a shout out on Facebook OCA Photography Students group, the discussion is below:

Hi, I am having problems defining which genre some of my images fit into.

(1) I took a photograph of darkness – is this still life?

(2) I then layered text onto the darkness photograph?

(3) I took a photograph of a Peace globe which in essence is a large sculpture – is this still life?

These were then adjusted to fill in parts of the cross within the globe.

The image I constructed is below and is called: 

“Oh where were you, my Lord, my God, my King?”

Thank you

Toyah Flowers (Dawn Tomlin) OCA Photography Students, Facebook group


Lynda Kuit Portraiture or self-portraiture maybe. Don’t get hung up on genres – photography is fluid and can crossover.

Toyah Flowers Hi Lynda, it is the exercise that I am doing, we have to use different genres and I do not know which genre the photograph of darkness would be or the photograph of the Peace globe. The end genre is a self-portrait but I have to name the elements…I am wondering if the globe and the photograph of the dark would be still life?

Hazel Bingham Toyah Flowers do you have a list of genres you have to fit your work into?

Toyah Flowers Hi Hazel not really, they suggested landscape, portrait and still life. but we were allowed any. I think I will just write it up as the Peace Globe is a still life, and the picture of the dark as astrophotography and then debate it all in the log book as I haven’t got a clue in how to departmentalise the different aspects of genres because they cross over – or something along the lines of ‘I am ruddy confused!’ Lol

Hazel Bingham Toyah Flowers when I started L3 they asked us which genres our work fitted or if it flitted across them. I think the exercise is probably designed to make you look outside the box. Landscape can mean anything on land – man-made which leaves you loads of scope.

Toyah Flowers I am debating on my blog now. I will post the final outcome so you can critic it for me… it has been a learning curve! 🤔

Dave Phyllosc As my first tutor remarked, “slippery things, photographs…”

Looking up the definition of Astrophotography, it describes it as,

‘photography of astronomical objects, celestial events, and areas of the night sky. The first photograph of an astronomical object (the Moon) was taken in 1840, but it was not until the late 19th century that advances in technology allowed for detailed stellar photography.the partial or total absence of light.’


However looking at the description and astrophotography images online I am not sure darkness would fit into this category although when I looked up the definition of darkness it says, ‘absence or deficiency of light: the darkness of night.dictionary.com This description also appears in the above astrophotography description.

So why had I photographed darkness?

Firstly it is the dark that surrounded me. Is it the same dark as last night, the night before, the darkness that is always there? Or a new darkness? Even on the brightest days I felt the darkness constantly there inside and out of me. Sometimes the dark was comforting as I could hide in it and hide from the outside world yet on other occasions it represented the forces or badness that seemed to follow me throughout my life which in turn just made me feel even worse than I already was.

The darkness also represents solitude, that nothingness is lonely, SODDING lonely at times. AND what is worse, it leaves you alone with your thoughts and memories.

Digital Manipulation – TEXT (DARKNESS)

On top of the image of the darkness that surrounded me I added the word DARKNESS in boxes. This piece of design was used for two reasons. One it highlighted the fact that the darkness was present within the image, specifically connected within the cross (for me) and second it was a connection on the writing on the cross at the time of Jesus’s death. It was my sign, well my two signs.

Digital Manipulation – TEXT (527)

In one of the lightest parts of the image is a number, 527. Light for me in this exercise represents Hope. In the Bible, John 8:12 reads, ‘I am the Light of the World.‘ For me, when I believed, there were two sources of light in the world, the physical light of day and the spiritual light of Jesus.

Going through trauma and praying for a positive outcome, support and strength and also praying for love, I thought God/ Jesus had turned their back on me. In his place was PC Brennan, collar number 527. He was first respondent with his colleague who uttered the first words in person after I had to dial 999 to have him arrested for domestic abuse – the final straw with his hands around my neck, from here the support of 527 was paramount in me saying and sticking with the phrase “No More!” The number 527 features in some of my digital works as images in their own right, but here it symbolises hope and the light in my traumatic darkness and the step forwards into it.

Self-portrait – DESPAIR

The portrait was taken after a fit of crying. I managed to get myself out of bed, unwashed and having not eaten for a couple of days, I just cried. Suffering from insomnia, fever dreams and nightmares weekly begins to take its toll on you, physically, emotionally and mentally. I have taken a few self portraits in different states but only when I think of it, so the self-portrait literally is a spur of the moment photograph.

The end image which contains the different genres and the different concepts are seen below.

The last of the concepts to discuss is placement of the cross. I have placed it behind me and faded my self-portrait out so that the concept of ‘ghosts’ is present within the image of which there is two specific types.

Firstly there is the ghost of the ‘me’ that died that night because once I had stood up for myself and said “No I am not taking this anymore,” I began a new journey and a new me was born to begin that journey.

The second type of ghost relates to what I perceived as the ’emotional ghosting’ of myself and Gods relationship. I literally cut the cord that bound us together, I broke my relationship with him, no explanation, a lot of feeling of hate and anger but no good bye in prayer or anything, I just snapped and turned my back on him.

Oh where were you, my Lord, my God, my King?

Will I stay an agnostic now doubting the presence of a God? I have had many chats with Christians and other members of faith who all try to justify where God is at times of great darkness but I have had a life time of darkness and the crap that comes with it and cannot believe a God would just watch all the types of trauma going on in our world. The Devil on Earth, God wanted us to have autonomy and free will and all the other excuses I have heard still make me think I must of been Gods least favourite and I am being punished for something.

The answer who knows, who cares?

19th January 2020

The Techniques used for each genre are as follows:

Peace Globe (background image to which other genres were added): Photograph converted to black and white within Photoshop.

Self-portrait – Portraiture: Photograph converted to black and white within Photoshop

Darkness stage 1: Photograph

Darkness stage 2: Text on photograph by using SketchBook iPad app.

527: Text on photograph by using SketchBook iPad app.

Combining the genres:

Once each genre had been adjusted accordingly I created the final image in SketchBook. I began with the Peace Globe as my background image and then added the self portrait on top of the globe. From here I erased all of the unnecessary background in the self portrait so that my head was just left. Then it was positioned where I wanted it to be.

Once the head was in place I adjusted the eraser settings and worked on that specific area so that a ghost image was left.

The next addition to the background was the text DARKNESS. I put this on top of the whole of the image, adjusted its orientation and re-sized it so that it was small enough to fit within the cross itself. I then erased all of the text that was not needed.

I repeated this with the darkness text, so that I had a second DARKNESS text area but it had a different orientation to the first so that it fitted into a different part of the cross.

The last part of the image to be completed was to add the collar number of PC Brennan. Here the number 527 was simply added by using the text application within the toolbar.

10th January 2020

Look online at the work of Bernd and Hilla Becher. Note how the composition, framing and lighting is almost identical in each photograph and how this ‘gels’ the series together.

OCA Foundations in Photography Course Folder pg111

Bernhard “Bernd” Becher, and Hilla Becher, were German conceptual artists and photographers. They are best known for their extensive series of photographic images of industrial buildings and structures, which were often organised in grids format.

The pictures were made over a period nearly five decades – they started collaborating in 1959 and continued until Bernd Becher’s death in 2007 – using a large format camera in the neutral lighting of overcast weather. The structures are viewed straight on, so that verticals remain vertical; the large format camera helps here but the Bechers also worked from raised viewpoints so that we are looking at the structures as directly as possible.

The Tate website is an excellent information source on the Becher’s and their work. I have put different links below to different types of information which include Tate papers and essay, etc…

Who are Hilla and Bernd Becher? This link will take you to the Tate website which has an excellent introduction to the Becher’s and their work. Below are two of the images from this website:

Bernd Becher and Hilla Becher Pitheads 1974 
Tate© Estate of Bernd Becher & Hilla Becher
Bernd and Hilla Becher
Gas-holders Germany, Belgium, France, Britain, USA, 1966–93
All photographs courtesy Bernd and Hilla Becher

These are links to other pages on Tate’s website connected with the Becher’s.

Tate Papers: The Photographic Comportment of Bernd and Hilla Becher


Cruel + Tender, artists, Bernd and Hilla BecherGerman, born 1931 and 1934

Tate Website

Essay: The long look



I am actually quite interested in how the Becher’s have taken their photographs and then presented them. Also, due to the nature of their images which is industrial buildings and structures, there is a very satisfying subject of geometry and line running through their work. The abstraction of the forms are enhanced by the black and white tones.

I am particularly fond of their water tower series of which there are many. They remind me of sci-fi films, tv series and comics from the 1950’s where there are dome like structures that either the human race in the future are living or other worldly homes of aliens.

The apartment building shot that opens most episodes of The Jetsons (1963)
(image from smithsonianmag.com)

If you Google Becher’s Water Towers you are taken to a page which in itself looks like a patchwork of geometric images which are presented this way as one piece of work. The type of images you will find presented within the search when Googling is below:

The square above which is constructed by images of their work put together in one space, is attractive in its own right. What makes them powerful and gel together as a series, as written in the OCA’s introduction, ‘Note how the composition, framing and lighting is almost identical in each photograph and how this ‘gels’ the series together’ is the reason that they can be presented as a whole together as well. I actually find the composition above very exciting and stimulating to my eye and it has given me ideas on how to present some of my work in the future. I find the text within the above composition adds to the overall feel of the work and this in itself gives me much scope to work with if I produce such a series of work in the future.

To accompany the above research I have managed to find a short documentary on YouTube called, ‘Bernd and Hilla Becher – Water Towers, 1972.’ This video can be found below with accompanying notes that I have made about the towers taken from the video and my own observations.


End of 1950’s they travelled the world taking photographs of industrial structures and buildings, for example, mine heads, blast furnaces, gas tanks and water towers.

Image captured from the above video – Water Towers

The Bechers called them objects to be admired and called them ‘anonymous sculptures,’ They took their photographs in a precise way so that each image was concise with the next and they called these ‘families of objects.’

They would use raised vantage points and took each photograph at the same distance so that people could get a sense of scale and understand how big they actually were. The breacher’s would also use large format cameras and long exposures so that they gained sharp, detailed and crisp images.

They displayed their images in grids and rows and would end up with series of images that were like catalogues of structures. Presenting the images in this format allowed the viewer to compare similarities and differences in the structures . However, water towers are not built anymore and many of the ones that appear within their work have been pulled down and therefore the Bechers have documented their existence.

Below are a couple of examples of their work.

  • Image 1 left: View of blast furnace head A of Metallhüttenwerk industrial plant, Lübeck-Herrenwyk, Germany. 1983 (image from cca.qc.ca Canadian Centre for Architecture)
  • Image 2 right: Blast Furnaces 1980-1988 (image from c4gallery.com C4 contemporary art)
  • Image 1 left: Cooling Tower, Germany (image from Pinterest)
  • Image 2 right: Cooling Towers Wood-Steel, 1959-77 (image from imageobjecttext.com IMAGEOBJECTTEXT Ann Jones – Art and Writing)

The information below includes details from an interview with Hilla Becher which I accessed on YouTube, the interview is from: San Francisco Museum of modern Art. The video can also be found below.

Using large format cameras – which is how Hilla was taught and had began her photography career with – the end images were presented in ‘typology’ form which was Hilla’s idea as she was collecting book illustrations that had to do with biology and typologies. With the cooling towers they had noticed a construction pattern which was repeated time and time again with very little differences – statice engineering and architecture. The images were like making a movie/ flip book. The best photo typologies, the best structures were those that were symmetrical.

Preferred to shoot in soft light, if the light was too harsh they would wait for cloud or wait for winter or dawn. These conditions meant that the construction was separated from the sky. This technique is very similar to that of Karl Blossfeldt who we studied for this course, the link is here. He put white card behind his subjects so that they too would stand out from any background.

I absolutely love the grid format with their subject matter due to the fact these purposely built industrial constructions become sculpture of geometric shapes and lines.

Water Towers (image from broad.org The Broad)

The Bechers completed over two hundred comprehensive documentary collections, each ranging from fifty to one hundred images – amazing!

18th November 2019

OCA Foundations in Photography Course Folder pg106

My initial thoughts and feelings on seeing this work is – ‘Urrgghh, Yuk! Not for me!’ It looks like work an A level student would complete with a smile of ‘look what I did for my sequence of work.’ It is just so cringe making.

Let us see that if after researching the work and understanding the context and concept of this OCA exercise and the images combined, my mind is enlightened and changes its’ viewpoint.

Taken from the website: romansignar.ch

Zelt (Tent) are a series of video stills showing a sequence of images of a man running from a tent, which explodes. “A passage of time and movement is depicted in each successive frame.” OCA course Folder pg 105

I had pre-read this article on Signer’s website before starting this part of the exercise and it answers some of my questions that I have about the work and already I am beginning to look at this work from another perspective.

Roman Signer Rachel Withers

Signer’s works have acquired the label ‘time-sculpture’. They share traditional sculpture’s concern with the crafting of physical materials in three dimensions, but they extend that concern into what may or may not be characterised as the fourth dimension: the dimension of time. Time-sculpture investigates the transformation of materials through time, focusing the viewer’s attention on the experience of the event, the changes wrought, and the forces involved. Variously combining three-dimensional objects, live action, still photography and moving-image documentation, Signer’s time-sculptures frame episodes of the containment and release of energy − always with ingenuity, often with captivating, epigrammatic swiftness and irresistible humour. In Cap with Rocket (Mütze mit Rakete 1983), for example, a length of string connects a firework and a knitted hat that Signer has pulled over his head. The firework is ignited; it shoots into the air and whisks the hat away, revealing the artist’s face. In Stool − Kurhaus Weissbad (Hocker − Kurhaus Weissbad 1992) a small explosion triggers the catapulting of a four-legged stool out of a window; the stool sails through the air and crashes to earth. In Kamor (Kamor 1986) a gunpowder explosion at the summit of a small mountain in the Swiss canton of Appenzell produces a burst of flame and a plume of smoke and momentarily lends the summit the appearance of a live volcano. In Attaché Case (Aktenkoffer 1989/2001) a concrete-filled briefcase is taken on a short ride in a fast machine − a helicopter, to be precise. At a height of about a hundred metres it is dropped. Like a meteorite, it plummets into a grassy field and gouges a deep crater in the turf.

Simple! And in some ways, the step from sculpture to time-sculpture is indeed beautifully simple: elementary, to borrow a word the artist himself has often associated with his work. In the face of the striking immediacy and poetic plasticity of Signer’s pieces, critical commentaries can sometimes seem frankly redundant − like a dull-witted, pedantic glossing of a perfectly-timed, beautifully-judged joke. The critic is dogged by the suspicion that (to co-opt a phrase from Simon Critchley) a time-sculpture ‘explained’ might be a time-sculpture misunderstood. From a seemingly restricted palette of processes and materials, Signer generates a poetics whose tones range from the melancholy to the thrilling, from the charming to the violent, from the grave to the frankly, irresistibly silly, and many points north, south, east and west of these affective co-ordinates.

© Rachel Withers 2007, Excerpt from:
Withers, Rachel, ‘Collector’s Choice. Roman Signer (engl.). Volume 07’, Cologne: Dumont Literatur und Kunst Verlag, 2007

Due to the fact that I have researched a little bit more and read the above article about Signers working beliefs and some of his work, I understand where the series comes from. I am a big fan of Gilbert and George and their living sculptures so Signer has taken it one step further and put his living sculpture into a narrative sequence, recorded it, taken out stills to tell the story in six easy shots that have a beginning, middle and end. This gives us a time-sculpture still narrative – very clever. Do I like the series now? No! I still I do not, but I do like the reasons behind it and why it has been created, however the subject matter still comes across as a teenagers piece of work and is quite boring. Perhaps if the subject was slightly different I would have been attracted to the overall piece of work and just not the concept behind it.

Would this work have been as effective if the cameras viewpoint has changed with each shot?

This series of stills work because of the uniformed shots which are taken from the same static viewpoint. The viewpoint of the viewer is straight in front of the subject and this allows their eye to keep a constant comparison of the time lapse changes within each shot, the tents explosion and of the man running towards them. Due to this it shows movement and the passage of time without any other visual aspects disturbing the viewers deciphering of the image content.

The constant viewpoint also allows the viewer to view the scale of the explosion and its changing size and shape as well as the running mans movement towards them and how his size also changes accordingly within a time frame.

This would not have worked if the viewpoint would have changed within each shot because the narrative (although the same) would have lost its dynamic layout and the information connected with changes of the subjects size and distance would not have been easy to envisage. The grid formation also works with this viewpoint as the narrative is kept clear by the constant and doesn’t allow the viewer to look for any other information other than the explosion and the running man.

What encapsulates this sequence, makes it seem like a finished piece?

This sequence of images has a distinct beginning, middle and end. Each image is connected with one viewpoint and one narrative theme. The title of the the series is ‘Tent’ therefore we know this is the subject matter we are focusing on and therefore the end of this sequence would be the end of the tents life because it has been totally destroyed from view apart from some debris on the floor around the site where it was.

How do you ‘read’ the sequence – from left to right, like a text?

Yes I do read the sequence from left to right that is what I have been taught to do since the age of three, and as there were no instructions to the contrary, I have continued to decipher the work as usual.

Zelt (Tent) strip order from grid above

Do you notice your responses changing through each shot?

No, because I didn’t like it to begin with and was just happy to get to the end of it.

How do you interpret the work? is it ‘just what you see’ or is it a metaphor?

I just see what I see, nothing more or less. However knowing the concept behind it has made it a little more interesting, but I still do not have any time for it.

How am I going to end my picture analysis? I now see the work as part of performance piece which has been captured in stills from a video. This makes the creative process more in depth than just a click of the camera that created a set of images that are to be presented in a specific sequence. It is easier for me to all of a sudden shout ‘eureka!’ because I come from a fine art and conceptual art background. If someone is a pure photographer this transformation of photography to time-sculpture, performance art is quite a big leap. It becomes an end piece of a performance rather than a photographic sequence in its own right – it is a recording of something outside of the image – the time-sculpture.