Natasha Hemsley
  • Home
  • Projects
    • Cessation
    • Final Resting place
    • Drowning: my dreams in Scanography
  • Contact
  • About

Mehrdad Naraghi

10/31/2013

 
his  approach involves showing the significance of human existence by capturing imagery of places and things which have been impressed upon by human experience, the silent and empty places that seem to have been left behind.  but what I don't quite understand is the notion of the fairyland the poem its self doesn't work for me I tried to understand it .some of it made scene but the fact all is not clear to me makes me confused about the images.
the images them selves are very soft focus   well what i mean is they are soft no harsh flash or light  i like like that it makes the landscapes more interesting espeshaly with the dark edges of some of the images it adds depth to the image channelling the eyes though the middle of the forest.

the idea of poems and image together was something I had not thought about before it would need to enhance the meaning of the images rather than conflict with them.  it would also work well with in a book format which is my first idea.
The Fairyland
The fairyland calls upon us,
Among the trees that stand still
Only to be viewed as symbols.
At a place where everything and anything is possible to be seen
A miracle raised from a dazzling light
Peeping through the amorphous leaves.
Inside a mysterious gloom where no decoding is expected


In this land,
In this fairyland
Far beyond the bitter logic of time,
Far beyond our unchosen land of birth,
Far beyond the past grieves and future anxieties,
Safe from the games that life ceaselessly plays upon us,
Every minute, every second…
A reflection of our childhood stories
A return to them
No! Not the hapless ones
Not those that drown us in pain…


We then gladly enter the gate of this fairyland.
If only our feet is not too glued to this earth.
We will then either be puzzled, gazing and waiting for a magic that has long been expected…
Or sleep in the meadows
A step toward eternal peace,
An eternal rest.



Mehrdad Naraghi

George Stubbs

10/31/2013

 
this is  An incredible image the title describes exactly what’s happening -  a white stallion is being torn apart by a ferocious lion in a starkly theatrical landscape of willowy, wind swept trees and distant hazy mountains. The horse is majestic but doomed, the lion, a ravaging monster.

all of theses paintings show the fear with in the eyes of the animals this is how I would imagine  an animal would look like if they get hit by a car.   although the horse is being killed it still looks beautiful the mucel  definition the glint in the eyes  create this personality.

stubbs seems almost obsessed with the subject of a lion attacking a horse, apparently he has created  at least seventeen works on the theme, most of which were in oil on canvas.   

carl 

10/30/2013

 
quite often in theses poems create visual interesting images with the use of words font and colour.
 I find that once your eyes drop out of focus you see things that you didn't see before it adds another layer to the writing .  the idea of having poems visually look interesting is what draws me to to the work  as my poems are not very interesting at the moment visually with in my books perhaps I could try something along theses lines. when I saw the work in the turner contemporary being able to stand back from the work helped when the text was smaller often reeding the text didn't mean much but connected with the visual look of images it slotted together made made some kind of seance. as a viewer it can be quite  puzzling looking  at the images i don't know if that's quite the effect I would like to have when people are veweing my poems but I would like to have something stylistically different to just one line per sentence sort of an ee comings style. I would like to have a moor modern feel to my poems

 x files season 6 ep 10 tithonus

10/30/2013

 
Vince Gilligan wrote "Tithonus" in an attempt to create a story wherein immortality is portrayed as scary. The episode was based on three real aspects of history: Arthur Fellig, the Greek myth of Tithonus, and the yellow fever epidemic. In addition, several of the scenes were filmed on the sets from NYPD Blue, whose sets were located just across from The X-Files studios. Alfred Fellig has thematically been compared to the Tithonus in Alfred, Lord Tennyson's dramatic monologue of the same name. In addition, themes of immortality and escaping death were revisited in the eight season episode "The Gift".


 x files season 6 ep 10 tithonus 12/08/2013

0 Comments

 


This episode is very important to the creation of the project its one of my favourite episoes all about a man who cheated death by not looking  at it in the eyes when it came for him over 100 years ago. since then he has been wandering the streets capturing death on camera trying to find it and dye himself as he is tired  of living.
The themes of immortality and escaping death are very interesting the way he dosent  enjoy life any more.


for me driving round and documenting death seemed interesting its somthing not always done with road kill   Clive lade  did it with in his project familiar British wildlife but we didn't get to see the soundings like we do with in this episode it adds so much more to the story of the death 



harmen steenwyck the vanities of human life

10/24/2013

 
The objects in this painting have been chosen carefully to communicate the 'Vanitas' message which is summarized in the Gospel of Matthew 6:18-21: “Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal. But store up for yourselves treasures in heaven, where moth and rust do not destroy, and where thieves do not break in and steal. For where your treasure is, there your heart will be also." Each object in the picture has a different symbolic meaning that contributes to the overall message:

The skull, which is the focal point of the work, is the universal symbol of death. The chronometer (the timepiece that resembles a pocket watch) and the gold oil lamp which has just been extinguished, mark the length and passing of life.


The shell (Turbinidae), which is a highly polished specimen usually found in south east Asia, is a symbol of wealth, as only a rich collector would own such a rare object from a distant land. Shells are also traditionally used in art as symbols of birth and fertility.

The books represent the range of human knowledge, while the musical instruments suggest the pleasures of the senses. Both are seen as luxuries and indulgences of this life.


The purple silk cloth is an example of physical luxury. Silk is the finest of all materials, while purple was the most expensive colour dye.

As a symbol, the Japanese Samurai sword works on two levels. It represents both military power and superior craftsmanship. These razor edged swords, which were handcrafted to perfection by skilled artisans, were both beautiful and deadly weapons.

Chrystel Lebas

10/24/2013

 
Picture
The forest is a fascinating space; one can feel attracted by its grandeur, or scared by its depth and darkness.
This space of immensity echoes our childhood memories, through fairy-tale or play.
Walking to the forest of my childhood, after many years, I remembered when we used to build a hut, and slowly the light would disappear, and darkness would surround us.
The excitement of being inside this small shelter, protected by large trees, overturned our fears, and instead we felt protected.
I don't know if the internet images dose this project justice some of the images are a little to dark to see what's going on but is this the hole idea of the project. I love the size of the images that a important we see in elongated rectangles In two dimensions, it's an oval. In three dimensions, it's an oblate cone. We have an almost 180 degree field of view horizontally, but only about 90 degrees vertically. the images kind of reflect this human vision. the lighting is important to me it almost looks dreamy  its an angle I would like to try. the liminal space can almost be dream like with in humans that is. its has this dark quality about it almost like it is not happening.  but theses are animals not humans and we do treat animals differently  to humans. but its something I will try out.

 Melanie Pullen

10/23/2013

 
Self-taught photographer Melanie Pullen‘s collection of more than one hundred photographs that comprise High Fashion Crime Scenes is based on vintage creme-scene images she mined from the files of the Los Angeles Police Department, the County Coroner’s Office, and other primary sources. Pullen began this project from the New York City Police Department. Drawn to the rich details and compelling stories preserved in the criminal records, in 2002 she began restaging the events after seeing a copy of Luc Sante’s 1992 book Evidence (1914-1919) about crime scene photos by outfitting the “victims” (her selected models) in current haute couture, and photographing them in her staged settings. She employed the services of up to 80 crew members and models per picture, with each image taking up to a month to create, and the series using over $13 million dollars worth of clothing and accessories. When White Canvas mag interviewed her she talked a little more about this project, saying”: As I grew desensitized to domestic crime and violence, I became more sensitized to images of war. It was a strange phenomenon that I’ve explored and philosophized. I don’t like violence, I have never been a dark person. I see stories and different layers to violent imagery. I’m curious about the response people have to violent images.

Melanie Pullen was born in New York City in 1975, and currently lives and works in Los Angeles, California. She is a self-taught photographer who raised in a a family of photojournalists, publishers and artists. Pullen’s work has been exhibited internationally, including solo-shows at Ace Gallery, White Wall Gallery and MiCamera, while she has been profiled in The New York Times, The Los Angeles Times, Beaux Arts, Artweek, Elle, BorderCrossings among others. Pullen’s series High Fashion Crime Scenes, was recently published by Narzareli Press in a 128 page hardcover book which can be found at bookstores worldwide.



SS: Each time before you start shooting one picture, do you really imagine up a whole story leading to her death? Or you just do the shoot and leave the rest to interpretation?

Melanie: I always work with the reference material - the original crime scenes that I'm recreating. Those images are normally pretty intense and I've chosen them because they force me to ask so many questions about what happened - they always evoke an emotional response and I want to explore the concept. I believe there needs to be questions and an interaction from the viewer (including myself) to create a good piece of work. I also hold true to that concept when searching for reference materiel. I'm always asking questions and trying to fill in the gaps. I have been most captivated by the images where you don't really see what happened - the evidence shots like the close up images of hands and feet as it just opens up my imagination - I find those very provoking - a few in particular have really stuck with me and I'm still asking questions.

SS: With some pictures, they’re tragic, but some there seem to be a lot of humorous elements hidden that make you smile, it’s like watching Alice in Wonderland gone darkly mischievous. What are other moods that you want to convey to the audience behind these characters.

Melanie: I tried to create a journey with the work. You notice everything but the crime scene. I'm making fun of the way violence and tragedy are portrayed by the media these days and how over the top it's become. My characters are very innocent and somewhat timeless. I generally play with colour, models, locations and these amazing cloths to really distract the viewer. I always hope that the final result is you leave my one of my exhibitions and wonder why you forgot to look at the crime scene right in front of you.

SS: You were inspired to do this from (Luc Sante's book) 'Evidence' and old crime scene photos, but do you also have any muses?

Melanie: I love movies! I could name a hundred great movies but I will save you the list. So all of the wonderful directors, cinematographers, actresses and actors are my muses. 


Picture
the lighting with in the photos is what attracted me to them.  especially the one above i love the darkness but the strip of light illumination the body this is what I had imagined my images to look like something like this with a moody dreamy quality. the issue with this is will it them become more fantasy than a reality for the views I want to keep things as simple as possible when tacking the photos because of the danger of the road side I don't want to put up lights on a buzzy road so i was thinking of car lights because we know that a car or something smiler would have killed the animal.

They are quite dreamy almost playful something I think works well for this project but won't for mine. when reading the articles and interviews there relay is a seance of though put in to placement of the body with research in to the NYPD archive and Luc Sante’s 1992 book Evidence. all the images have a reference from a crime scene some exactly the sima e others have seances pulled from different images. 






MICHAEL LUNDGREN T

10/23/2013

 
lundgren_transfigurations.pdf
File Size: 49 kb
File Type: pdf
Download File

MICHAEL LUNDGREN Transfigurations“Photographs are the results of a diminution of solar energy, and the camera is an entropic machine for recording gradual loss of light.”—Robert Smithson

As an artist, I have always been drawn to the field of landscape. It is the perfect subject with which to explore our history and our desire, two urges bound deeply together in the mythology and experience of the American West. As well, working in wild places always feels like coming home.For seven years I worked exclusively on a series entitled, Transfigurations. I began this work in 2000 as a graduate student at Arizona State University—culminating in a monograph published by Radius Books (October 2008). Born from a long-term relationship with the desert, these pictures refer to the heart of these places, not by description, but by metaphor. If I have learned anything from Postmodernism, it is that photographs are not the thing itself. Photography’s burden of representation has been lessened and yet I am still able to access real experience with these pictures. While this work is about being on the surface of the earth, the images do not proceed by literal content; their meaning comes from an engagement with the transformative capacity of photography. Through sequence they speak of a search for the elusive, through layers of phenomena unfurled as a story of desert experience.These photographs are a lust for the primitive, for what lies behind personality. They are a search to understand beauty and terror, which are bound to one utter certainty—change.In the desert nothing is static, even rocks move. Through intuition, I hope to photograph the impossible, to fix the fugitive on film. Early on, landscape was grounds for the idealization of nature—the creation of an Eden whose existence is surely at question. Contending with the devastation enacted upon the earth, landscape photography has in many ways become a medium of political motivations—a necessary pursuit given the dire circumstances. However, a summary of intention for both of these approaches might be: “Look at how wonderful nature is, but do not mistake, it is better off without us.” My work has always been an effort to shift this paradigm—we are nature. Perhaps our one chief distinction is that we are forever trying to control entropy—and things always fall apart. In Transfigurations, I hope to walk the line between apocalyptic-transcendence and our own perseverance.
the landscape is such a diverse place and nature always finds a way what what I like about this project seeing nature working plants growing out of animals, trees bent to the wind it reminds us of life. i don't think it matters that some of the images are in black and white and some in colour although I do like the black and white images they have more tonal depth.  I don't have much to say about the project  I'm finding it hard to comment i think the artist statement is very well written  it adds another levle of meanig to the project one i would not have understood if it wasent for the explanation.  i keep being drawn to the image of the hole dear skelington  ther way its illuminated like that its almost like its back lit it makes the image visually interesting

Andrew bruce

10/23/2013

 
with regards to my project theses images relay helped me to vishlise my ideas i new i wanted to photograph rode kill to document but i didn't know how  to go about it

as I talked over with bex we went with the cover of night
i then remembered Andrew Bruce and his work.
what realy worked for me was the visual impact of the images the animal being framed by trees leaves ect.
the framing is the all important thing in theses images the suspension of the animal in mid air lifeless surrounded by the things that aided its life

Andrew Bruce interviews why he photographs death

10/23/2013

 
http://faultmagazine.wordpress.com/2010/07/22/faultless-andrew-bruce/
Describe your style?
A year ago I would have said that my work was about
two themes; our growing detachment from the natural world, and our growing
detachment from the idea of our own mortality. 
I think for a while I felt lost
having these two strands in my work, that at the time I saw them as quite
distinct.  But then I started thinking about how these two things are really
very interconnected and so I feel my work is about where these two subjects
intersect and collide. 
It’s something that I have resisted trying to verbalise,
it’s something I feel is best left as a raw emotion, as something quite basic,
best left for the work to say.


In fact, being led by that raw emotion is something very important to me.  I
work very slowly and in a very considered way.  From slowly cycling country
roads to find animals killed by motorists, to taking them home to be stored (for
the past year I’ve had a freezer in my room especially for this task – so I feel
I really can’t escape my work) and then even the production is slow; working
with a large 10×8″ view camera and then having my images printed (usually at
life-size) by hand on an enlarger.  Most photographs take me months of planning
and waiting to realise.


When I find an animal, it’s so sad, as they are so beautiful – I hope people
can appreciate that (if nothing else) in my photographs.  I’m still waiting for
someone to really misunderstand my work and take offence, maybe I’m
paranoid.
http://www.telegraph.co.uk/culture/photography/8139921/Andrew-Bruce-Interview.html

Aaron Schuman:
Roadkill is usually something that people avert
their  eyes from. What inspired you to look more closely at it, and what did it
represent to you both literally and metaphorically?

Andrew Bruce: For me, there’s a very important quote by
J.L.Borges,   from The Immortal (1949): “To be immortal is commonplace; except
for man,   all creatures are immortal, for they are ignorant of death; what is
divine,   terrible, incomprehensible, is to know that one is mortal.” As a
species, humanity seems to be incapable of living harmoniously with nature. We
seem  to have convinced ourselves that we are not a part of nature; that we are
   ‘above’ it
. (Apparently, we have ‘souls’ while other animals do not, and we  
can imagine and invent, while they cannot.) We suppress anything remotely  
natural when it dares to interfere with our lives – animals are commodified  
and domesticated, or caged, or used for their meat or milk. We divide the  
landscape, and exclude nature from our day-to-day existence. We barely   notice
the ‘thud’ when we literally come into contact with animals. My work takes
that ‘thud’ as it’s starting point. 

I started to see roadkill as a potent symbol of humanity’s clash with nature,
   both literally and figuratively. Of course people are going to avert their  
eyes from roadkill; it’s horrendous. Seeing a dead body, be that of a man or  a
beast, is understandably a traumatic experience. One minute we are a   person,
with relationships and a personality, and the next minute we could   just be an
object; our bodies are so delicate. So when it comes to that  point of contact
– metal against flesh and bone – whether you’re man or   beast, you’re
powerless. It doesn’t take much to turn a body into something   unrecognisable,
something repulsive even. I find this the most horrendous   thought; it pierces
through me, and it’s my worst nightmare. 

In pushing through this fear, I have at times felt truly privileged to have  
seen and touched such animals
– to have looked really closely at the claws   of
a bird, or the shades of fur on a foxes back, or to have felt the weight   of a
badger. These are some of the most incredible, beautiful animals, and I   am
saddened when I find them left to rot on the roadside. Going back to an  
earlier point, the animals that I find are those that just don’t fit into  
humans’ modern way of life – they are animals that we feel we have no use   for,
and there is little respect given to them or their habitats. Looking at  my
photographs, I hope that people can begin to appreciate the beauty of  these
animals.

Anna Fox

10/23/2013

 
what I like about this book is the text being in a different book to the the images I like reading the text first it informs me about the image and there meanings I love they way the text is hand written at the time of the instedent it relay adds to the diary feel. also the covers and selves look like a cheap notepad complete with bar code and price tag . the images are a mix of portrait and landscape images. i like the portraits being full on the page i think the borders round the landscapes don't work as well for me I think the white is to strong . I think for me the text before the image works well and the portrait images filling the page.

jonathon kambouris - Ecocide

10/23/2013

 
placing taxidermy back in to the landascape. i love the idea of placing taxidermy back in to the landscape something that  could be very intresting
but I think the project has mixed messages I'm not sure why  he is photographing the animals some of the images are of the animals imersed in nature with some hints of human activate and others are full on human activate with no nature the time of day changes with each photo some at night wit bright headlights others sunshine. i think consistency is something i need to think aboiut with in my work as i can see from this project it makes a difrence if some have flash and others are headlights. when there are cars involved i think its about human intervention cars killing animals other times I think  about humans intervention with regards to taxidermy the animals  espeshaly when the human activaty in the image is limited to just a goal post its a small part of the landscape much like taxidermy is small in regards to the death of animals we don't taxidermy all animals that die.  its a reminder of humans and animals living together with out the idea of humas being the cause of death.




weegee

10/23/2013

 
Between 1935 and 1946, tabloid forerunner Weegee haunted the crime and fatality scenes of New York, capturing often disturbing images of the dead, of those gathered to watch, and of police attempts to investigate and clean up.



although theses images are disturbing they are also interesting  for exsample the body on the floor with the man looking up blood covers his face i start to give him a back story how did he dye the car wheel by his leg was the cause? He has been moved since his death you can see where his head impacted the ground the pool of drying blood around his hand. it seems to be all about the death rather than the reaction of the public police it is something i would have likes to see but failing that a caption to describe what is going on i know he dose this with a number of his images caprions them but we don't always understand the link

 Clive Landen

10/23/2013

 
They are all photographed in the same formal manner using a tripod signifying a kind of forensic strategy at work. They are the physical evidence of the unfortunate conjunction of vehicle and animal.

this what interests me about the project the way the animals body deals with the impact of the car. the way some are pushed in to the ground and others are disfigured .


what I like about the book is first the size it works so well the images are big enough to see the detail but not to big that the book becomes hard to look at. the paper is very nice to handle matt but with a small amount of shine I don't know how to explain but its very smooth a large contrast to the photos them self most photographed on hard concrete. the subject matter is sometimes hard to look at I do find it interesting what a car can do to an animal the way the body is deformed broken bruised but I think they way he has layed it out works so well not all the gory ones are next together they spread out so you get a not so bad image and then a graphic one.  the wite pages in between each image is alot better than a darker more sinsiter colour he could have used red or something. but  White is associated with light, goodness, innocence, purity , Cleanliness and so on. this makes me feel different about his project i would see it in a moor positive light. the cover is interesting the only image on grass the fact the book is about rode kill  the cover doesn't show that also the title doesn't reflect that it almost tricks you I think I am just going to be looking at British wildlife. the only sign is the badger itself there is something hanging form the body I don't know what that is but it doesn't loot natural.
the back cover is bright pink along with the title i don't know how I feel about it it's not a natural colour found in British wildlife its also quite bright I think it works but I don't know why.
the text in the book is very good i like how informative and interesting to read the small righting  by John Taylor around the subject had some nice quotes and works from poems it relay brought the project together  there are also added photos amongst the text that are not in the book it's like finding a £1 in your bag you didn't know was there. the little pece of text with the image is so sad but so true i kind of feel very differently about the project now giving them a name and adress it almost makes them sound human and that is strange but i feel more for them than i would have befor I read the text
each image has the same format of text beside it and i like that consistency although I don't know the Latin turns i still think it works well like something you would find in a museum I feel like I am lurning something the rode names are also interesting putting a location to the death something to think about I find myself thinking  about the location of the animal was it an a rode or b rode are the a rode images more graphic and looking through the book this about 50 50.
the layout  of the images is nice full page images when i look through the book i am putting my hands on the images as i flick through its strange i kind of start to feel the concrete in my mind its strange but i like it if there where borders I wouldn't be doing that I wouldn't touch the images but it feels like I am touching death.
The relationship between death and representation have always been profoundly and intimately intertwined. Never more so than with the emergence of the photomechanical apparatus in the middle of the last century. So much so that some early photographic processes were called Thanatography derived from the Greek word Thanatos meaning 'death'. And some of the most startling images from that same period were images of the dead. They exemplified what Barthes would later go on to say about photography 'it must be described in relation to death'. This particular preoccupation has undergone a re-emergence in the last decade or so led by photographers like Witkin and more recently in Luc Sante's collection of forensic photography from the turn of the century amongst others. However, Clive Landen's Familiar British Wildlife series deals not with human death but with 'roadkills'. His perspective seeks out a different angle and engages a specific purpose. The ostensible content of the collection of these images is the carcasses and remains of domestic wildlife lying by the side of the road. They are all photographed in the same formal manner using a tripod signifying a kind of forensic strategy at work. They are the physical evidence of the unfortunate conjunction of vehicle and animal (although some of them are so well laid out that they seem orchestrated). The forensic reading is reinforced by the titling of the images using the precise zoological nomenclature and the road reference number indicating the general location of the event. This textual information accompanying the image is reminiscent of an exhibit from the Natural History museum, whose institutional rhetoric insists at one and the same time on the beauty and diversity of 'nature' and on the desire to control and order the chaos of Nature. The ironic mimicking of the optics of instrumental reason by Landen attempts to force a consideration of the relationship between human endeavour and wildlife and by implication 'nature' and the environment. This throws up a number of interesting questions. As a collection of images it demonstrates the reliance of the visual sign on text to anchor meaning. Representation is foregrounded in this manner. For without the text some of the images could be read as 'trophies' or examples of fine specimens or in the case of the small birds as formal and abstract studies. It could be argued that Landen's ironic take on the taxonomic impulse of Western knowledge systems performs a type of meta-documentary text where the historical antecedents and indeed the genre itself is held up for examination and commentary. The point here being that the camera has historically been in the service of science in its efforts to produce the order of things. However the ecological critique implied here is less sophisticated. Modern technological living, it is suggested, has distanced us from Nature and we need to somehow become reconnected to 'it'. This is in the crudest sense naive and simplistic. But it is a disquieting aspect which is underlined in the publicity material produced for the show that claims the work '...considers death; not just the literal death of animals themselves but the metaphoric death of an aspect of our (sic) national identity - the cherished countryside of our imagination'. The preface for the catalogue reiterates the same evocation of national identity citing Watership Down and Last of the Summer Wine as exemplars of some idyllic past. (It is important to note that it is British wildlife and the assumed audience of the catalogue is a British one). The deep and complex mythologisation of Britain as 'a green and pleasant land' teeming with wildlife should not go unchallenged. Consider for instance, the mobilisation of this myth by reactionaries and neo-conservatives in Britain with all its connotations about 'race', ethnicity, and class. (The black artists Eve Pollard and Maud Sulter have addressed these mythologies in their own photographic practices). But it also highlights some subtle but identifiable cultural differences between for example Ireland or Europe and Britain's attitudes to 'nature'. Is it only in Britain that the media construct panics about the 'barbaric' practices of Spanish religious festivals, where hunt sabotage is class war, where mothers sacrifice themselves under the wheels of trucks carrying calves and where bishops compare the same to the transportation of the Jews to the camps?. There are some deeply troubling contradictions here which remain uninterrogated. Landen's photographs are mournful, celebratory and ironic. While Landen indicates the role of the photographic apparatus and documentary discourse in the production of knowledge, their political effectiveness remains ambivalent and uncertain. It invokes a dissipated ecological critique of Modernity and its credo 'Progress' whilst forgetting that Modernity produced Nature. So if it does anything it succeeds in demonstrating the contemporary paradoxes and crisis abroad about the 'nature' of Nature and humankind's relationship to its environment. Martin McCabe

sally mann

10/23/2013

 
sally mann  had always subconsciously  influenced my work I don't always think about her work untill i see others and think back. this is one of thougs cases where i have looked at this work for another project but it fits so well.
the idea that this her dog adds a personal edge to the images it brings out my emotions my memorys of death in my life with my cat.  the idea the need to document makes this project intresting  its almost like resrection bringing her dog from the cold ground back to the life ontop. the dirt grounding the notion of the temporary.

statment

10/22/2013

 
The idea behind the project is to show the distraction humans are causing to the landscape around us. Its been on the news and game shows that badgers are the no.1 animal killed on the roadside and the govement is treating it like a badger cull.  Theses animals are often treating as a joke or tossed to the side and forgotten. These images will be  a reminder of the destruction we are causing on the landscape as population rises and the land animals live in Is destroyed for new houses. We need to take the time to remember the ones lost before they all disappear. I know that’s a little way off but if we start doing something now maybe we don’t have to get there. Kelly Richardson’s work is a vision of the future something often barren with broken technology showing us glimpses at the nature once passed. My work is showing the start to the proses.

https://www.facebook.com/SplatterProject13

10/22/2013

 
so this we page is all about road kill and its documentation each week or two they send out a splatter report. i have been in contact with them. each time i find somthing on the roads i will send them a splkatter report.


each report is borken down in to each animal




Picture
Picture

frederic delangle

10/22/2013

 
Nyctalope. Part 1.
"Nyctalope"

And if walking at night in the woods, what would be left of our benchmarks? Dark day, clear night, which acuity is required to get by? The "Nyctalope" series Frédéric Delangle is part of this observation, we are deprived of the vision cones allow us to see at night. Never mind, Frédéric Delangle left on country roads cut pieces of landscape with the headlights of his car. Is offered under a different nature whose familiar aspect vanishes. Tree, vine, pond or cabin are adorned with a dramatic depth. The mundane, natural, is transfigured.

The "Nyctalope" series borrows cinema the principle of directional lighting. Night scenery becomes a giddy, headlights insulation reduced visibility area. Torches at long range, they cut the space between the image structure and a bright field and dark field. This contrast comes the mystery; and night, artistic theme on is replayed. The diegetic space of the photograph puts tension visible and invisible, causes waiting and suspense and excite our imagination.


this projects use of lighting is what makes it work so well the headlights of the car cutting through the landscape carving out pictures we can not see in the dark. I'm not sure whats more engaging what we do see or what we don't see.  itwhats around the edges of these images is what's so interesting the bits we don't see i start to build around the  lit object to fill in the blanks. its something I haven given much thought about darkness.

the lighting is very soft it dose tend to be strong in the center but as the light spreads out the image gets softer   its like the image is just fading out of existence. 

the ideas behind the lighting is something i would like to try out with in my imagery headlights are atached to cars which often are the main cause of road kill.

    Natasha hemsley

    major practical projects

    Archives

    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    November 2013
    October 2013

    Categories

    All
    Artist Reserch
    Book Reserch
    Ideas Comments
    Poems/book Text
    Presentation
    Project Images
    Reserch Road Kill
    Statment Evaluation

    RSS Feed

Powered by Create your own unique website with customizable templates.