I comment here on LO3, LO4, and LO6 as areas of focus. Perhaps I did not communicate these strongly in my Final Proposal.
LO3 Critical Contextualisation of Practice
I contextualise my photography and image creation in terms of healing and art, an earlier identification with suffering, along with the spirituality of connecting with family and our remembrance of them. The following references I associate my with:
- Sick Photography Representations of Sickness in Art Photography (Tammi, 2017)
- The Body in Pain The Making and Unmaking of the World (Scarry, 1985)
- Concerning the Spiritual in Art (Kandinsky)
- Forget Me Not Photography and Remembrance (Batchen, 2004)
LO4 Professional Location of Practice
The audience breaks down as follows:
- Family is the immediate audience. My work emerged from family as a collaboration.
- Our staff and students within the University are audiences. This a step towards going public through assignments, portfolio reviews and critiques.
- Accomplished photographers and digital artists I would reach out to as my primary audience.
- Clinical photographers and scientist experts in digital and medical imaging are an emerging target audience. At present, I use the scientific community to test theory and assumptions.
- Followers of my work, may or may not represent a professional context yet interaction here often brings pleasant surprises. Some from this group are from teaching or an arts and crafts background. They actively express interest in my work and have done so now for several years. Followers have earned special consideration.
There are several tried ways and other potential ways of reaching out. The exhibition has to be the main driving force, as experienced in an earlier module. From this springs the marketing and publicity of reaching a particular milestone. This would lead to a rich media environment and supporting materials and social media campaign.
A book is a recommended outcome for my work having demonstrated strong skills in making in an earlier module. I would create a book dummy and would seek to convert it into a professionally bound work. Numbers of interested parties might tally around ten at a first count. I need to give this more consideration.
Even if I restrict the list to these for now, I klnow from experience there is a whole lot more making:
- Video for contextualisation.
- Audio recording as for creating atmosphere.
- Online gallery
As an emerging digital artist, it would fit to occupy a gallery space in one of the online communities. At present, this has to be aspirational as there is so much more to find out. I’ve participated in virtual world exhibitions several times, explicitly using Linden Second Life, a virtual world.
From an online world perspective creating a gallery is untried for me. I’m sure I would need to involve a virtual world developer. This is exciting, really exciting, even it flies in the face of materiality. I’m thinking through how the name Second Life becomes connected with the theme of my work which is really an aside. However, I see a great connection with the title, as sentiment and as the digital presentation of digital making. This would be a true mark of progress, given ancestors could never have predicted the rise of the internet and the discovery of knowledge of genetics. At some point, I was going to get carried away and here we are. I really need to focus right down on making rather than being distracted by technology. This can be saved for later.
LO6 Written and Oral Skills
My chosen area has been hard to convey to a general audience. This circumstance has been a constant for my time on this MA course and it is only through repeated practice that I hone this skill. The starting position each tome involves a trap. It is always too easy to over-elaborate and justify my work. In subsequent
Batchen, G. (2004) Forget me not. New York: Princeton Architectural Press. Available at: http://www.papress.com.
Kandinsky, W. (no date) Concerning the Spiritual in Art. Edited by M. Sadlier.
Scarry, E. (1987) The Body in Pain: The Making and Unmaking of the World. New York, London: Oxford University Press-23 978-0-19-504996-1.
Tammi, M. (2017) Sick Photography Representations of Sickness in Art Photography. Edited by M. Tammi. Lahti, Finland: Aalto University Publication- Aalto ARTS Books Helsinki. Available at: https://shop.aalto.fi/.