Group Crit

The 25th April saw me present some work in the group crit session; some of the more recent images from Le loup... together with some of the installation shots from the TYB exhibition, some photographs from After Stephen Shore from the making day, and finally a link to the video and some stills from Drive.

I provided the first part of my statement (more on this later) and then some questions, as follows:

My practice is moving more clearly to being related to the journey (or at least I’m recognising this more and more), the following is from my website and was updated earlier this year as the trend became apparent:

My aim is to record the journey, the road trip, getting from A to B geographically, temporally or metaphorically, and the things I see whilst I'm on that journey using whichever style of image making seems right at the time. Another recurring subject is what has been termed the “mundane” or "neutral"; those everyday things we fail to notice until someone makes an image and we are asked to stop and consider them.Occasionally I'll even try different things.I want to look at different ways of showing these things, for example using the GSV images as in the making day earlier this year, or with the Driving video, whilst not moving completely away from a “contemporary” style that might be used to describe Le loup…How I work can change from project to project, from the fairly contemporary style photographs of Le loup…, to the GSV images (Ruscha… and After Stephen Shore) to the night time photographs of Drive. Does this then seem eclectic, incoherent in terms of my practice?Is Drive in photograph form too obscure? Is the lack of information in the photographs a problem? (note - there are many more of these images in the set, it’s a subset of the video stills...)Where might I go to further explore the possibilities of the road trip or journey?

The feedback was positive, with a couple of tricky questions from Tanya thrown in for good measure. What follows below is from the transcript of my notes taken as people were providing feedback. They're short and perhaps not quite as concise as they could be, but people were speaking to make comments, not speaking to be written down. Having said that, there was a recording...


Wondering about the name for the project, Le loup, le renard et la belette.

Likes the journey, the framing at night, with the lights hitting the screen and the fact that the framing cannot be controlled.

Feels weird to see the mundane represented, but familiar and interesting.

GSV images made her feel voyeuristic - to take off the black square and see behind it. Feels gossipy...


Has the feeling of missing the people for some reason, make her feel lonely like after a disaster...

Images can feel like a hole that you keep going into, loneliness.

Likes the aesthetic of the GSV images, but has no link to them

Drive gives a direct relationship, about driving, speed - likes them very much.


Shares the loneliness of the images, but gets the feeling that being involved within the images, a part of it. Feels like being forced to see a certain part of the scene, the atmosphere of the dark sky, the petals on the floor.

Interested in the text that was juxtaposed on the installation images.

The black squares - are they removing people in the GSV images?

Loves the darkness around the drive images, working with the environment. Glare, air blowing, the warmth of the street lights... The yellow and red lights with the blackness, an explosion caused by lights and raindrops...


In response to question about incoherent and eclectic - sits very well with the photographs, journey between points.


Wants music for the video... Why didn't I just let the video roll (as video, not stills).

Doesn't feel like the photographs are people-less - there are kids, flowers and the truck. It's not lonely...


Incoherent... No! Do the projects need to be connected anyway? How was the film made?

The lack of people is not about loneliness - about framing and what's not there.

The video, you are the person in the video.


Single images of Drive more evocative of experience of driving - slipping into and out of the conscious act of driving, this impact is missing from the video.

Peter Fraser - the beauty of the quotidian, of the everyday. A space before the beauty beyond what we don't notice - where I'm exploring...

Answering the questions.

Le loup... is a song title.

After Stephen Shore is self-indulgent. Working with the images of a photographer I like in a way that doesn't cost the earth to revisit them. You need to know the original photographs (or have copies to hand) to get the relationship, and this is part of the reason for the self indulgence...

Would like to develop the idea further, collaborating with someone photographing an area "live", whilst I photographed the same area "virtually". Something for the future perhaps?

The loneliness... Done on purpose for three reasons. Firstly the French privacy laws with the subject owning their own image copyright and the need for model releases. Brittany is also emptying, so there is a metaphorical reason too with people leaving and the houses lying empty until bought up by Brits or even Parisians (Normandy is getting expensive). I also don't like photographing people - it's not really something I consider myself good at...

Mwamba picked up on the fact that he felt involved in the image. I like the idea of being able to share the experience of the image - I know the facts about the photograph, but it will hopefully be able to bring something from the viewers own memory to the fore, so that the experience is then shared at some level, and it means more, even if the meaning is different.

In answer to Tanya, I'm not confident working with video... I also think it would've been too long to keep it as is, although that doesn't deter some. Not for me though - I wouldn't watch it.

The film was made with a GoPro and Aperture.

And good to think that people don't think it's incoherent.

And yes, I’ll be looking up Peter Fraser (and Simon Faithfull) again.
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