Response to the words: participatory, collective, cooperative, and collaborative
These are new words for me when it comes to my photography, for a long time it has been a very solitary process for me. My methodology started as a process of emulating the colours and mise-en-scene used in the work of Gregory Crewdson. Like many other photographers, it became something of a meditative process for me. My walks at night exploring the local urban landscapes were a bit of an adventure, almost in a dream land, or perhaps in some cases a nightmare land (In reference to my inspirations from Silent Hill).
However, my most recent work has seen me working alongside a model. While the model for the most part is simply doing as instructed, this has still affect the methodology of my work, and means that I have to communicate my thoughts and ideas effectively, while also understanding the capabilities of my model.
In terms of working with other artists, in the past, this has almost entirely only occurred in regards to joint exhibitions, and the odd late night walk with a friend of mine who also enjoys night photography. Previous joint exhibitions have included a collection of work from local photographers from all levels including work of my own very different from my normal material, and a small exhibition at The Workers Gallery named Taboo (2018), where I included the only collaborative project I can think of. A series of portraits of a close friend of mine, wearing his own artwork, a series of masks he had created from leather (this is actually very close to the work I will be producing this module). One of my images appeared as the poster for this exhibition. This collaboration worked well for me, although I was working with an artist who had some ideas on how he wanted his work displayed, I was mostly left to my own devices when it came to lighting and posing. I have yet to work closely with another photographer on a project.
Taboo (2018). [Exhibition] The Workers Gallery, Ynyshir. 7 June - 4 August 2018.
Thinking about your own research, which is of more interest to you: the subject or your view of the subject?
In my case, it is absolutely my view of the subject which is most important. My photography is all about my exploration into subconscious and conscious feelings in various locations and settings.
How could you be influencing your subject and is that something to be avoided?
I am influencing my subject in terms of the landscape in terms of the time of day I choose to shoot, how/if I light the area, and my technical choices in terms of the camera. I give direct instructions to my models so I have a high level of influence over them. My work is not a documentary, it’s a combination of narrative and exploration of themes and ideas.
Conversely, how could your subjects be influencing you and your approach?
I think the locations I shoot in absolutely influence me, I have mentioned before that I try to employ Psychic Automatism when choosing my locations to shoot, which essentially is just an instant reaction with little thought, a gut instinct, and in this way one could argue the location itself is affecting my way of shooting.
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