mark power's book is something i have been looking at for other projects but its very relevant to this project the book layout is something I have been looking at I wanted to get the layout right. what is intresting is he has an image on both the front and back something i hadent thought about. the text is very very small and in a difrent place to most books i have seen, top left. from the images i almost didn't see it. it dose work it makes a change to the normal text in the bottom of the left side of the image. i think the wight page in between each image is key it adds a barrier so you can look at each image individually but still see them as a collective
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.
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
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
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.
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.
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.
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
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
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
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.
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.
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
Nyctalope. Part 1.
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.