Curation notes for Tutorials

These posts have been mostly referenced on the main body of text (UNIT2 assessment page)as they are key moments of research and reflection. Tutorial II was also marking an evolution in my practice, although this evolution was also discussed on another entries.

Tutorial I
At this time I was considering the exhibition proposal. I was looking into light boxes and also thinking of a plan B for the printing of the typology of valves just in case the photo intaglio method wasn’t satisfactory. I started investigating Lambda printing. I was also looking into more contextualization for my work and I looked at Andrew Moore and his pictures of Detroit. I  got encouragement from my tutor, Andy, to keep investigating the Photo Intaglio process and as it happened it has been the one I have used for my final output, so the tutorial was very useful as a decision to continue investigating this area. I was also encouraged to keep contextualizing the work and after this tutorial I started researching for contextualization for my moving image piece which really helped with the development of the piece.

Tutorial II
This is when I presented my first good Photo Intaglio print. This tutorial was key to making a decision of using this method as a final output. The process was in need of refinement, but it was a good start. I also started thinking about the final configuration for my typology of valves.

Tutorial III
After Tutorial III  I decided I was going to concentrate on the moving image piece and the typology of valves as the practicalities of getting permissions for shooting on location became more and more difficult. This tutorial was not only useful to concentrate my efforts on the film piece, it was also very useful to keep developing my Intaglio printing as, even after a few handicaps, Andy supported my vision on this project to keep experimenting till I got a good result from it instead of printing the valves through a digital process.

Tutorial IV
On this tutorial I showed Andy a resolved piece of work and we had a look at the exhibition space and talk about the organization of the exhibition.

Tutorial IV

It was a short tutorial but a good update. I showed Andy the first typology on Intaglio Printing- the 6 valves I just printed on a sheet of Somerset satin paper. He was very happy with the achieved result. It has taken a lot of effort to produce this piece, but I think is been worthy.

We also went to see the room where my work is going to be displayed and I explained what Derek Yates, the tutor for FDA, plans to do with the room. I have been in conversation with Derek Yates and David Cross to keep updated about the BA and FDA exhibition plans and how they are going to affect the spaces where we will be exhibiting. We discussed about the need of power points and internet connections. I think that the rooms will have everything we need for the show.

Tutorial report form here

Tutorial III

Due to the lack of response from my request to photograph my chosen industrial interiors I discussed some changes in my project with Andy.

The overall idea for my project is to capture some of what remains from the functional architecture of the industrial era in an attempt to represent this period of time trough modern digital technology and in this way make a connection between our current digital revolution and the 19th-20th centuries industrial revolution.

My visualization of the project was to document functional architecture from the inside out; documenting the machines and the spaces where the machines are housed, as well as making a connection not only to the outside but also to an element with which all these inventions/technological advances depend upon: water.

I have documented machinery, water and some industrial interiors, but unfortunately I haven’t been able to gain permission to access THE interiors that I really wanted to show for the exhibition. I have written numerous letters, but I haven’t had any positive feedback. Most of the buildings I was hoping to gain access to belong to Thames Water and they are very difficult to reach.

So, the nature of my exhibition prototype has changed slightly. I will be concentrating on the valves piece and the time lapse piece. In some ways this has its positive side as I’ll be able to dedicate more time to the intaglio printing and the video compositing. Of course in an ideal world I would have liked to go into these places and document the architectural space. This still may happen although I don’t think it will be within the duration of this course.

I also discussed the digital nature of my project. The typology composition fits in with the archival desire of my project and at the same time, approaching typologies from a digital art perspective, I could see how it would fit within the concept of bringing industrialism forward as my intention is to create a parallel between the typology concept and the way that information is sought and presented in digital environments, for instance on a Google search. I could also extend this concept of typology to the chronophotography footage as it consists of image after image of water where you can see the development of the image through time.

I think that to make a further connection to the digital and to give a stronger contextualization I will name my pieces using meta-words.

Tutorial report form here

Tutorial II

This tutorial was an update after Intaglio printing the first plate that was made with a stochastic positive and an aquatint screen. The result was quite satisfactory so I showed Andy and he was quite pleased with the results as he said that the texture of the paper complements the image and it gives it the extra context of the old method of reproduction. I also showed him a digital mock up of how the valves looked as a typography. He suggested that I experiment with the layout and also with how many I would like to present. This is my research:

Valves typology

In December 2009, after writing my paper – titled Pursuing the Archiving of History-  and having observed the documentary approach of the Bechers and Polidory, I set my mind into arranging my images into a typology. Thus aiding the contextualization and archival feeling of the project. This was recorded in my blog photo intaglio – print making.

The following are different layout proposals for the valves typology. I need to take into account the size of the biggest press (91.5cm x 130cm) and the size of the biggest Somerset Satin paper (152.4cm x 122.0cm- 330gsm, next size down = 76cm x 106cm)

I am inclined to present my typology as shown below – 12 valves on an horizontal arrangement – but I am not sure if the size of the press will allow for the length. I need to consider the space that the roller takes on the overall size. A solution would be to have them printed on two different sheets of paper and then framed together. I have yet to make a definite decision.

Tutorial report form here

Tutorial I

This first tutorial of the year was a good time to catch up with my project and remember where it’s going.  I am trying to seek light boxes to buy or rent. Andy suggested that if this became too difficult I could use plasma screens. The only downside about such screens is that I would really like a square shape that shows the medium format size. Of course, there are ways around it but for now I’m still going to pursue the light boxes.

I am still to re-take my investigation of the solar plates. The next step is to make a positive of the image with a stochastick (random) half tone and to use an aquatint screen with the proper density when exposing the plate.

I am also thinking of following a different avenue, maybe getting permission to go to LCF and use their Lambda printing equipment. I would think that setting up this equipment and printing with it is quite complex but then I could print from the computer into archival fiber coated paper. Lambda refers to a process that uses continuous tone digital technology. Lambda photo images are produced by transferring images directly from computer-generated digital files to reflective or backlit photographic materials without the need of a negative. Within the equipment, three lasers – one each for red, green and blue – are merged into a single beam that simultaneously exposes the photographic material, producing the image in a single pass. The photo material is then processed in the same manner as traditional photography by developing the photographic material in a “wet” film processor.  So the image can be printed onto photographic paper or backlit transparency film (duratrans), in colour or black and white. By using the lasers, the total image is crisp and precise from edge to edge with no distortion. All of this means that the quality of a Lambda panel or mural will be much better in terms of clarity, sharpness and in colour saturation. For the production of my backlit prints I have found some labs:

http://www.mckenzieclark.co.uk

http://www.michaeldyer.co.uk

http://www.genesis-digital.net

http://www.spectrumphoto.co.uk

http://www.grieger-online.de

We also talked about the future of my project and Andy suggested that I approach institutions such as the Science Museum and see if they could fund my project.

He also suggested that I should keep researching for current practitioners that are in my field. I have found a photographer that is in line with Polidory, his name is Andrew Moore. He recently photographed Detroit, a city where functional architecture is in deterioration and decay due to the car industry’s abandonment of the city. Moore tends to work in series, his previous bodies of work documenting Governor’s Island, Havana, Sarajevo and Russia. He uses long exposure photography which gives his work a great tonality that resembles pictorial rendition. In his pictures of Detroit, Moore managed to capture objects that, within their quickly disintegrating environment, have taken on the look of unearthed artifacts from a better time.

Andrew Moore -Marine Terminal, Detroit, Michigan 2009

Andrew Moore -Rouge, Detroit, Michigan 2009

Tutorial report form here