Abstract (no 1st hand experience of being detained)
Do I enter the realm of documentary by separating myself from the subject – photojournalism.
The process of cutting up photographs and the DESTRUCTION involved with the process is time consuming -Child labour was used to recombine documents which had been broken down so I could consider how Labour becomes part of the work. Could I work on a piece for an extended period of time to challenged my role as Artist by becoming a ‘worker’.
When looking at my painted wood work, I could have placed an image underneath the paint and no one would know if it was there or not – Im playing with a photographically based process by physically manipulating the image in an ungracious way.
Could be interesting to play with Glass as the materiality suggests an honest view to whatever is behind the glass. A lot of photography is held behind glass in frames – how could I smash glass or manipulate it and present an image behind the damaged surface?
Look at the work of Gorden Matta Clarke. His processes are semi-destructive public interventions such as directing buildings. Consider what he does in a two dimensional form with photography.
Consider is the recognition of the photographic imagery necessary or could they be processed to the point of just being aesthetic? would they still have a haunting quality because of a text written describing what WAS on the images even if it cannot be seen directly?
Research Deutche Börse Prize by looking at their catalogues as they focus on artist who deal with political issues. Specifically look at Bloomberg and Channering (official war artists).