- How do I include a subject which is slightly:
- 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).
… some thoughts processed into lines.