Having scanned and filed all of the images shot on my last trip to France for PHO 740 (Oradour-Sur-Glane), I feel as prepared as I can be for the FMP. As we stand, I have at my disposal all of the Waffen SS, French under occupation and late photography books that I am going to need.
Although the last meeting with the Martyr’s committee and Monsieur Giner had gone relatively well, communication with them has gone dark. A review of their website shows that they are busy preparing a memory centre, and I may or may not be part of their plans. I must going-forward assume that this will not happen and plan my FMP as if this was not to play a part.
Monday a meeting with the library team took place entitled ‘Creative Research’. I had signed up for this as I felt that my research techniques were definitely in two camps. The first more journalistic research underpinning my writing is well-developed. However, when it comes to creative research, I find myself struggling to understand what exactly it is that I am looking for. The presentation was very useful and introduced me to a number of concepts surrounding creative exploration that I was unaware of and will help me a great deal going forward. I must now review their concept boards, make notes, and use the techniques going forward.
Tuesday was my 1:1 with Wendy for the Pecha Kucha. This was well accepted, and I felt that my plans were communicated clearly. Wendy articulated a number of useful points for my research. Here is the contact report I wrote back to Wendy:
- The Jeff Dyer book on the ‘Missing of the Somme’ despite it being WW1 focussed looks an interesting perspective on remembrance – have bought it
- By a bizarre co-incidence Paul Graham is speaking tonight at the Huxley Parlour gallery in Maddox Street London for his exhibition on ‘Troubled Lands’ – will be definitely going to this tonight.
- I did not initially intend to buy a book from Sara Davidman; however, her interview on the exhibition surrounding her book ‘Michling’ was fascinating, and I have purchased this also. Meanwhile, using fragments from her archive, such as her hair, has given me an idea of potential future interviews. Perhaps I could ask surviving grandchildren to bring along similar archival objects for the shoot?
- Will definitely be visiting the Steve McQueen exhibit at the IWM. Reviewed it online and will be going there for my research in any case.
- The Raymond Depardon reference was a really useful ‘look and feel’ reference for the way in which French towns and villages are photographed without the bucolic stereotype of ‘Emily in Paris’ France.
- Paul Seawright hidden is also a very useful reference for my ‘late photography approach’
- Finally, I took on board your comment about the sentimentalising trap of the scarves and the value of a more neutral perspective.
As a result, I have purchased books by Paul Graham, Sara Davidman, Jeff Dyer and Raymond Depardon. In particular, Wendy’s comments regarding the over-sentimentalisation of events were poignant, and I will take that on board going forward.
Bizarrely, Paul Graham exhibited at the Huxley Parlour Gallery near Bond Street. I was able to attend the first night. My takeaway from the evening was to understand the importance of scale when showing images. His details of the troubles would have been totally lost on smaller-scale images. Interestingly, when asked, he mentioned that all of the images shown were 6×7 not large format as I had expected. I imagine that all of the prints were made from drum-scanned images, hence the quality. However, it does fill me with hope regarding how large my images might be able to go.
Wednesday, the FMP clinic was a more general discussion, for which those slightly behind the curve probably found more useful. It was nice, however, to see the old faces, as I don’t tend to spend a great deal of time on the cohort’s social media. The afternoon meeting with Catherine Worrell (academic librarian) was incredibly useful. She introduced me to basic and advanced library searches; we then explored the Bridgeman Library, which has a wealth of photographic resources. Also, there is a historical news database, all the back copies of the Times newspaper and ‘BOB’, a searchable database of all films over the last few decades. I have already watched one episode of The World at War.
Thursday started with a review of dates and the various guides within the Falmouth FMP section. It was at this point that I discovered the outstanding submission of Roxana Savin. Focussed on the lives and roles of wives who had moved to a gated community outside of Moscow, her work showed a highly intellectual and nuanced approach to both the text and photographs. her interview with Wendy brought up a number of fundamental questions I need to ask myself:
Why do I want to do this work?
What do I want to say with the work?
Is the work somehow about me?
Am I being honest in the work?
What aspect of the image making am I going to use as artistic instruments?
What emotions am I trying to convey with the work?
What are the visible and invisible atrocities that can be seen in the landscape today?
How do other practitioners of Late photography describe their work?
How am I going to avoid cliche in the work?
Is there ambiguity that I need to show in the work?
If I film and interview subjects what objects do I want them to bring with them?
The role of text in the book allows it to be more layered
Friday, I had somewhat of a breakthrough on the visual front. I was able to colour-grade the images of the monuments to reflect a more melancholic and reflective look and feel. I then placed these in a book. This seemed to work well. Mid-afternoon, I then received an e.mail from M.Giner who seems keen to take the project forward and begin arranging the interviews.
AN EVENTFUL AND MOTIVATING FIRST WEEK. I AM BEGINNING TO SEE HOW THE PROJECT MIGHT TAKE SHAPE GOING FORWARD.
The Photography of David Rosen 