The idea of this project was to prove my own theory, that you cannot produce true Surrealist photography in the modern age, wrong. So, did I do it?
Well, most of my doodles and original ideas did stem from my unconsciousness. So the doodles themselves could be compared to automatic drawings by original Surrealists such as André Masson.
But what happens when you add photography to this? The taking of photos was not automatic. I thought about the doodles and how I would go about turning them into photos; the body positions and angles so I wouldn’t have to distort the body too much with Photoshop; and the overall editing my images would have to undergo. Does this make it any less automatic or unconscious? Surely there must have been Surrealist painters that began their work with automatic drawings and then painted over the top of that? or painted what they saw in their automatic drawings onto another canvas all together? Is that any different from what I’ve done?
From doing this project I have come to the conclusion that the final images were so far away from the original doodles, they are no longer products of my unconscious. To be fair, any Surrealist that may have used automatic drawings to begin their paintings, probably pretty much exactly copied what they saw, rather than changing it to fit something else, like I did.
I believe this was however, closer to true Surrealism than any of my work that had previously been vaguely related, or inspired by, Surrealism. The work still had an element of the unconscious, hence why it is difficult to make a link between the individual images apart from the obvious connection of them all having me in them. To me they all link together and have a meaning which hopefully comes out in the titles, if nothing else.
I wanted the effect my images have to be that of wonder almost; wondering for a minute if they’re real. I think this was at least achieved with ‘Out of Place’, which is one of my favourite images from this set. It also has the slightly uncanny feel about it; as does ‘Different Perspectives’, which is my favourite image I have created, hence why it shall be the ‘unmoving’ centre piece of my installation.
I have not yet fully decided whether or not to omit the two not so good images from the exhibition. I will be handing them in for marking as they are still very relevent to my work and still quite interesting as images.
The easels were a brilliant idea. It also came to me in quite a strange way. A classmate suggested that maybe I do an installation for our show and I began to think, and it popped into my head. Very Surrealistic. In the world of painting easels generally represent unfinished or works in progress. This is a good analogy for my life, as it is still a work in progress.
I very much enjoyed this project, and am happy despite the fact I have not created true Surrealist photography. I have got much closer than I ever have before and would like to continue working in this method in the future.
“A constant human error: to believe in an end to one’s fantasies. Our daydreams are the measure of our unreachable truth. The secret of all things lies in the emptiness of the formula that guard them.”
Hence why I would like to continue working in this way. Imagination and unconscious is un-ending, so why should I stop working this way?
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My prints got finished today, so disreagard me talking about not getting them, but not the part where I explain why because I cannot be bothered to write it again. Heres some photos of the prints
I love them. And I actually think the printing makes the two I wasn’t sure about look a lot better, so thats good news.
The print bureau is very very busy and despite me getting my prints in over a week ago and 3 days before the deadline, they are not finished yet. Since I wont be handing them in I will justify my reasons for printing and post them again in the same post.
These 3 are being printed A3, since they are my favourites:
So yes. These will be A3 and will defiantly be in both the Coventry degree show and the london exhibition, both under the group name Exposure 24, by the way. Sorry about the water marks but you can never be too careful these days.
All my images are being printed onto canvas to give a more painterly feel. This is an extremely important point. They are then being mounted onto foam board to make them stiff without the need of making a wooden frame for the canvas. This makes them lighter, for hanging, and easier for transporting, for the London exhibition. They will then be attached to the easels and strung from the ceiling.
The following images are being printed A5:
The reason I have chosen to get these printed smaller is that I’m not sure, as yet, whether or not these images will be included in my exhibition work. I am not so sure about the quality of the images, but thought I would get them printed to see what they look like and for hand in, which might not be the case. If I do not put these in the exhibition, I think my installation will still contain the 5 easels, but two will be empty.
These images are printed exactly the same and for the same reasons as the others, just smaller.
So, today myself and Chloe Short booked the studio to photograph our exhibition installations. Unfortunately, my prints weren’t done yet, and may not be in time for the deadline. So I just set up the easels how I want them to look in the exhibition, you’ll just have to imagine them with prints on them.
But why? Well, for a start it looks awesome, in my humble opinion. I really like how this turned out. I decided to use ‘white strimmer cable’ to attach to the easels, since it is practically clear. I have used a couple of feet of this on each one, enough to get the rest of the wire out the way, and then made hooks out of thick metal wire, that will hook onto the beams on the ceiling of the gallery.
The middle image, wil be my only landscape image, ‘Different Perspectives’, since I think this is my best image. The two either side of that will be the yet untitled, snake image; and the giant image, ‘Out of Place’. The two on the outside will either be the other two images, or blank, depending on what I think of them when they come back from the printers.
I hung them to give them a ‘random’ feel. All the images but the centre one will pivot in the wind or as people walk past, but the centre one, since it has two wires, will stay for the most part still. I’m hoping this will draw people in, either from the movement, or they will see the static image and want to see the other ones.
When I hung them up and took a step back, I couldn’t help but thinkof this image. ‘Dali Atomicus’ by Phillippe Halsman. Which is cool, because I love this image, it makes me happy.