1. Find words that have been written or spoken by someone else
I selected quotes from a qualitative study on eco-anxiety, eco-guilt, eco-grief and eco-coping (Ágoston et al., 2022).
…I feel really sorry for the next generation…
From Table 2. Aspects of eco-anxiety (Ágoston et al., 2022).
…I cried and told my mom that everything is meaningless…
From Table 2. Aspects of eco-anxiety (Ágoston et al., 2022).
…we meddled with it so much that the whole thing has become completely unpredictable…
From Table 2. Aspects of eco-anxiety (Ágoston et al., 2022).
…I often feel that what I can do is far from enough…
From Table 3. Aspects of eco-guilt (Ágoston et al., 2022).
But since I haven’t opened these articles anymore lately so they wouldn’t haunt me…
From Table 5. Coping mechanisms (Ágoston et al., 2022).
Reflection
Reflecting on the Integration of Words and Images in My Artistic Process
In my latest project, I’ve endeavoured to explore the poignant theme of eco-anxiety, an increasingly prevalent sentiment in our contemporary dialogue about the environment. The project is a visual and verbal narrative that attempts to capture the haunting beauty of nature—a beauty we are perilously close to losing. This reflection will consider how words, both written and spoken, have shaped the production of my work and how I’ve aimed to foster a deeper narrative engagement through the interplay of text and imagery.
The Influence of Words on Visual Production
Words have a profound impact on visual storytelling, often guiding the conceptual and emotional direction of a piece. In this project, I selected quotes that resonate with the theme of eco-anxiety, such as “…I feel really sorry for the next generation…” and “…I cried and told my mom that everything is meaningless…” These expressions of despair and concern over environmental degradation steered the visual representation in my work. By choosing to photograph subjects like dunes and butterflies—elements of nature that are both beautiful and emblematic of ecological fragility—I sought to embody the emotional weight of the quotes. The words not only influenced what I chose to depict but also infused the images with a narrative urgency, making the viewer pause and consider the underlying message.
Narrative Expansion Beyond the Image
The integration of poignant quotations within the visual frame serves to extend the narrative beyond the immediate visual impact. For instance, a viewer might see a vibrant butterfly or a serene dune landscape and feel a momentary appreciation of its beauty. However, juxtaposed with a quote expressing fear for future generations, the image takes on a new, more sombre meaning. This dialogue between text and image invites the audience to delve deeper, prompting reflection on the broader implications of these fleeting beauties. It is my hope that this approach not only highlights what we stand to lose but also encourages a reflective dialogue on why these losses are significant—fostering a connection between personal emotion and global environmental issues.
Balancing Illustration and Description
A key challenge in this project has been to avoid the trap where images merely illustrate the text or vice versa—where words only describe the visuals. To navigate this, I intentionally selected images that, while they resonate with the words, also stand in contrast to them. For instance, the positive, even vibrant imagery of nature acts as a counterpoint to the despairing tone of the quotes. This juxtaposition is designed not to dilute the message of loss but to enhance it, presenting an inherent contradiction that challenges the viewer: the world is beautiful and worth saving, yet it is in peril.
Moving forward, I aim to develop this technique further by exploring more complex interplays between text and image. Perhaps integrating visual metaphors or symbols that might not be immediately apparent could add layers of meaning, inviting viewers to “read” the images multiple times and from different perspectives. Additionally, incorporating interactive elements, such as QR codes linking to audio clips of the quotes, could enrich the sensory experience and deepen the engagement with the narrative.
Last night, I attended the online roundtable by The Photographer’s Gallery.
The central theme revolved around an age-old debate: Is photography predominantly an art form or a media medium? Given the omnipresence of images in our daily lives, this question becomes ever more significant as we advance through 2024.
The session kicked off with a deep dive into photography’s dual identity. Historically, photography has been celebrated as an artistic expression, allowing creators to encapsulate emotions, narratives, and aesthetic beauty within a frame. Conversely, its role as a medium of media cannot be overlooked. Photography is a powerful tool for journalism and communication, shaping public opinion and documenting social realities.
As we navigate through an image-saturated world in 2024, the role of photography continues to evolve. The digital age has democratised photography, enabling anyone with a smartphone to capture and share moments instantly across global platforms. This ubiquity raises pertinent questions about the dilution of quality and the impact of visual information overload on our cognitive processing and appreciation of the finer artistic elements of photography.
During the discussion, it was emphasised that our constant exposure to images might lead us to make broad assumptions about global visual culture. However, it’s crucial to acknowledge that these perspectives are often rooted in a Western viewpoint. Parts of the world remain where photography is not as accessible or visually dominant, and these regions usually do not share the same interactions with photographic content as seen in more connected areas.
This highlights the need for a more nuanced understanding of photography’s impact and varied roles across different cultures. As we consider photography’s place in art and media, we must strive for a balanced view that respects and incorporates diverse perspectives, ensuring that our dialogue about this powerful medium remains inclusive and globally relevant.
Whether viewed through the lens of art or media, photography in 2024 continues to be a dynamic field that mirrors our complex, interconnected world. The roundtable enriched my understanding and highlighted the importance of continual discussion and reevaluation of our views on photography as both an art form and a crucial element of the media landscape.
David Favrod’s “Hikari” series is an evocative and deeply personal exploration of identity, memory, and heritage. Combining photographic skill with a poignant narrative, the Swiss-Japanese artist delves into the complexities of being caught between two cultures. The series highlights his struggles with dual identity and vividly portrays the emotional landscape of an individual seeking to reconcile this bifurcation.
Introspection through Imagery
“Hikari”, meaning ‘light’ in Japanese, is a metaphorical conduit in Favrod’s series, illuminating his heritage’s forgotten or overlooked aspects. The imagery, rich in symbolism and allusion, mixes traditional Japanese and Swiss elements to create a visual hybridity that mirrors his personal experience. One can see this in the predominant use of vibrant colours juxtaposed with stark, sometimes bleak landscapes. These compositions are reminiscent of Japanese woodblock prints, both in their execution and attention to detail and layering.
The narrative Favrod constructs is one of longing and not belonging. Through a series of self-portraits, landscapes, and still lifes, he expresses a sense of searching—for roots, for understanding, for home. The use of double exposure and superimposition in his photos underscores the fragmented nature of memory and identity; in the same way, these elements overlap, as do the aspects of his Swiss and Japanese selves.
Cultural Dialogue and Dissonance
Favrod’s work is strikingly striking in its ability to communicate the cultural dissonance he experiences. This is not just through overt references, like kimonos or alpine mountains, but through the emotional resonance of the settings and subjects he portrays. His landscapes’ isolation and often surreal nature reflect a psychological state: they are beautiful and alienating, familiar yet strange. This dichotomy powerfully reflects Favrod’sFavrod’ss alienation from both cultures yet belonging to both.
Moreover, Favrod challenges the viewers of the nation’s nation. In one image, a volcano erupts as a stark, almost apocalyptic reminder of reference to human concerns, and nature could be seen as a metaphor for the often violent collision of cultural identities that individuals like Favrod experience. In another, delicate cherry blossoms are juxtaposed with a harsh, snowy landscape, encapsulating his heritage’s yet tricky blend.
Critically, Favrod’s””series” raises questions about the authenticity of experiencing culture secondhand, through the stories and traditions of our ancestors, versus firsthand, through personal experience. Favrod’sFavrod’ses does not offer easy answers, but instead, Favrod’sFavrod’sy is a complex construction, constantly in flux and subject to the pressures of personal and historical currents.
Reflectively, Favrod encourages us to consider our identity options. It asks us to reflect on the origins of our understanding of self and to acknowledge the inherent complexities of being tied to multiple cultures. The visual and thematic richness of “Hikari””offers” profound insight into the spl”entered “identity” and experience for Favrod and many others in an increasingly interconnected world.
Sharon Boothroyd
Sharon Boothroyd’s photographic series If You Get Married Again, Will You Still Love Me? delves into the profound and often unsettling dynamics of parental divorce and its emotional aftermath on children. Through her poignant imagery and narrative depth, Boothroyd explores themes of loss, change, and the enduring anxiety that children face when their familial landscape is irrevocably altered.
Visual Narratives and Emotional Landscapes
Boothroyd’s work in this series is particularly striking for its use of domestic scenes that convey complex emotional truths. The title poses a question laden with insecurity and fear—emotions that are palpable throughout the series. Her images are staged yet authentic, capturing intimate and invasive moments. Each photograph tells a story of dislocation and disarray, using personal belongings and household environments to symbolize the upheaval of divorce.
The series resonates deeply with me, having experienced my parents’ divorce. Each image reflects back to me the feelings of uncertainty and the fear of abandonment that was so pervasive during that time. There is a universality in her depictions; the cluttered dinner table, the unmade bed, the lone child amidst adult conversations—all are scenes that echo the chaos that quietly thrives in the wake of such life-altering events.
Symbolism and the Child’s Perspective
Boothroyd’s use of symbolic imagery—the empty chairs, the split portraits, the solitary objects—evokes the loneliness and fragmentation experienced by a child whose parents part ways. The spaces are filled with echoes of arguments perhaps not fully understood but deeply felt. This aspect of Boothroyd’s work particularly highlights the isolation that comes not just from the physical separation of parents but from the emotional silences that grow between parent and child.
The perspective is invariably child-centric, with a focus often drawn to the lower half of the scenes, perhaps suggesting the smallness and helplessness of being a child in a vast, incomprehensible situation. As someone who went through these motions, the perspective reminds me of the confusion and the need to piece together a narrative from fragments of overheard conversations and the visual remnants of a shared life now divided.
Reflection on Parental Relationships and Child Anxiety
Critically, Boothroyd’s series does not just narrate a child’s reaction to their parents’ divorce but profoundly captures the shift in the child’s relationship with their parents. The question posed by the title reflects a fundamental anxiety about love’s conditionality—whether a parent’s new romantic commitments might dilate their love for their child. This is a theme that pierces the heart of the series and one that certainly pierced mine during my parents’ separation.
The photographs candidly portray such fears. They ask the audience not just to witness but to feel the weight of the child’s worry: the stillness of anticipation, the longing in the midst of what was once familiar but is now foreign. Boothroyd invites us not merely to observe these private moments but to inhabit them, to live within the pause of a life transitioning into new, uncertain forms.
Personal and Universal Dialogues
Reflecting on Boothroyd’s work offers a revisit to my own experiences and opens a dialogue about the broader implications of family breakdowns. It raises important questions about the stability of parental love and the psychological impact of adult decisions on young minds. Her series has a lasting impact, reminding us that the echoes of such questions linger far beyond the resolution of adult relationships.
In conclusion, Sharon Boothroyd’s If You Get Married Again, Will You Still Love Me? is a powerful exploration of the emotional turmoil children of divorced parents face. Through its intimate framing and poignant symbolism, her work captures the essence of childhood disorientation and anxiety with profound sensitivity and insight. Personally, the series is a reminder of the unseen burdens children bear and the silent fears they carry—questions of love’s limits and the complexities of new beginnings. The emotional depth and artistic integrity of Boothroyd’s work make it a significant, impactful series in the realm of contemporary photography.
To initiate this research task, I extensively explored the works of three photographers highlighted in the course materials: Tom Hunter, Georgie Wileman, and Shirin Neshat. Among these, Georgie Wileman’s poignant photographic commentary on male suicide particularly resonated with me.
Georgie Wileman’s “Boys Do Cry” is a piercingly intimate exploration of male vulnerability in the context of mental health and suicide. This project directly confronts the culturally ingrained myths that govern expressions of male emotion and the societal expectations that often discourage men from seeking help for mental health issues.
Context and Impact
The “Boys Do Cry” series comprises portraits of men in moments of vulnerability. Each image captures an expression of raw emotion, often accompanied by tears, set against a minimalistic backdrop that intensifies the focus on the subject. This choice of representation plays a crucial role in challenging the stigmatic belief that ‘men don’t cry’ or that emotional expression is a sign of weakness rather than a natural human response to pain or distress.
These photographs serve as a public testament to the inner struggles that men often face alone due to societal pressures to adhere to archaic standards of stoicism and masculinity. Wileman visualises these struggles but also stimulates a critical dialogue about the devastating impact of these cultural norms, particularly the high rates of male suicide linked to unaddressed mental health issues.
Artistic Approach
Wileman’s technique in “Boys Do Cry” involves close-up portraits that convey profound intimacy and immediacy. The viewer is drawn into a silent yet eloquent narrative of emotional struggle, resilience, and the human condition. Each subject’s gaze directly confronts the viewer, establishing a silent communicative link, inviting empathy, understanding, and reflection.
The simplicity of the composition amplifies the emotional gravity of the photographs. The minimal use of text often includes poignant details about the subjects’ experiences with mental health challenges, enhancing the photographs’ impact and broadening the viewer’s understanding of the context and the depth of the subject’s emotions.
Societal Commentary
The “Boys Do Cry” project is a potent critique of toxic masculinity and its conflation with emotional repression. Wileman challenges us to reconsider what it means to be strong and how society’s rigid definitions of masculinity can be harmful. The series highlights the pain caused by such norms and portrays crying and emotional expression as acts of strength and resistance against these harmful stereotypes.
By bringing these private moments into public view, Wileman’s photographs advocate for a reevaluation of male vulnerability, showing that true bravery lies in the ability to express oneself fully and freely. The project encourages dismantling harmful stereotypes and calls for a more supportive culture that recognises mental health as a critical component of overall well-being.
Personal and Broader Implications
On a personal level, “Boys Do Cry” challenges individuals, particularly men, to embrace their vulnerabilities and recognise them as strengths. It promotes a healthier approach to emotional expression and mental health that can lead to more profound interpersonal connections and personal healing.
On a societal level, the project is a call to action for increased awareness, open dialogue, and better resources for mental health, particularly for men. Wileman’s work highlights the urgent need for cultural and institutional shifts to provide better mental health support and to fundamentally redefine masculinity in healthier ways.
In my recent photographic journey, I found myself in a memorial park, unexpectedly drawn to a sequence of signs that transcended their locality while situated in Hamilton Square Gardens, Birkenhead, as of April 2024. These images—spanning the evocative poetry of Wilfred Owen, solemn memorial plaques, and an immersive modern music installation—guided me through a nuanced exploration of remembrance and loss.
Initially, my visit to the park wasn’t intended for this purpose. Yet, the compelling presence of words amidst tranquillity captivated me, turning my casual visit into a spontaneous photographic endeavour. The process was organic, led by chance encounters with texts that resonated deeply.
In curating these images, I focused intently on the text, allowing the background and specific contexts of their origins to fade. This deliberate choice aims to elevate the universality of the narratives encapsulated within. By stripping away the distinct markers of location, the images could indeed belong to any corner of the UK, making the names listed on these signs echo the loss of families nationwide, underscoring the pervasive shadow war casts over humanity.
Moving forward, I’m contemplating further anonymising these images. I aim to strip them of any residual markers of identity or location. This act isn’t about erasing history but rather about highlighting the omnipresence of making the statement that grief, in its most raw form, is a universal language unbound by geography or time.
Photographers are often interested in the language of signage and how text in our surroundings influences us and the images they make. In some photographers’ work, the text is included within the frame at the time of taking.
Walker Evans, one of the most influential photographers of the 20th century, is renowned for his documentation of American life during the Great Depression. His work, characterised by its clarity, precision, and straightforward approach, captures the essence of American culture through its focus on everyday life and objects, including signs. Analysing Evans’ work, particularly his fascination with signs, can offer profound insights into not only the era he documented but also the medium of photography itself and how it can be used to communicate complex social narratives.
Historical and Social Context
Evans’ work during the 1930s, notably for the Farm Security Administration (FSA), aimed to capture the impact of the Great Depression on American society. His photographs of signs are not merely documentations of the landscape but are rich texts that reflect the time’s economic, social, and cultural conditions. Signs, in Evans’ lens, range from billboards and shop fronts to street signs and posters, each telling its own story of the American experience. These images serve as a direct commentary on consumerism, poverty, displacement, and the American dream, themes that were especially poignant during the Depression era.
Artistic Approach and Style
Evans’ approach to photography was notably straightforward. He believed in presenting his subjects honestly and without artifice, allowing them to speak for themselves. This is evident in his work with signs, where he often used a frontal, unembellished angle, ensuring the signs were the focal point, thus highlighting their presence and significance within the landscape. His technique underscores the power of photography to reveal truth and reality, positioning the medium as a critical tool for social commentary.
Symbolism and Interpretation
The signs in Evans’ photographs are laden with symbolism. They can be seen as markers of time, reflecting the economic desperation of the Depression era through advertisements for products and services that seem almost ironic in their context. The juxtaposition of grandiose advertisements with the dilapidated environments in which they are placed often produces a stark contrast, offering a critique of American consumer culture and the failure of the American dream for many during this period.
Learning from Walker Evans
Evans’ work offers several key lessons:
The Power of Simplicity: Evans shows that a straightforward, unembellished approach can be profoundly impactful. His method teaches the importance of letting the subject matter speak for itself without the need for excessive manipulation or stylisation.
Documentary as Commentary: Evans’ photographs of signs demonstrate how documentary photography can serve as a powerful form of social and cultural commentary, providing insights into the times and places they depict.
The Everyday as Artistic Subject: Evans found beauty and significance in ordinary objects and scenes. This perspective can encourage artists to look beyond traditional notions of what is worthy of artistic attention.
Historical and Social Awareness: Evans’ work is deeply embedded in its historical and social context. Artists and photographers can learn from his approach to engage deeply with the times and communities they are documenting, ensuring their work is informed and reflective of broader societal narratives.
Walker Evans’ photographs, particularly his focus on signs, are a masterclass in the documentary tradition. They show how the medium of photography can be used to document and critique societal conditions, using straightforward techniques to capture the essence of an era. Evans’ work is a poignant reminder of the medium’s potential to bear witness to and critically engage with the world. Through his lens, mundane objects become symbols loaded with meaning, offering a rich tapestry from which we can draw lessons about both photography and society.
Matt Siber’s “The Untitled Project,” which spans from 2002 to 2010, presents a fascinating study of the examination and manipulation of signs within the urban landscape. This work can be seen as both a continuation and an evolution of the photographic examination of signs and symbols in the public space, a theme that Walker Evans pioneered decades earlier. However, Siber takes a distinctly contemporary approach, using digital manipulation to explore the relationship between text, image, and context in our modern, advertisement-saturated environment. Analysing Siber’s project offers insights into his unique artistic process and provides a deeper understanding of the cultural and societal implications of signs in our daily lives.
Conceptual Foundation and Execution
At the heart of “The Untitled Project” is Siber’s exploration of the visual and conceptual impact of floating signs and billboards, divorced from their supporting structures through digital manipulation. By erasing the poles and wires that physically anchor these signs to the ground, Siber creates images where the signs appear to float mid-air, a surreal alteration that challenges our perception of space and the role of advertising within it. This technique invites viewers to reconsider the omnipresence and dominance of commercial messaging in public spaces, highlighting how these messages are engineered to capture attention.
Technological Commentary
Siber’s work can also be read as a commentary on the impact of technology on visual culture and communication. By employing digital manipulation, Siber reflects on the constructed nature of our visual environment, suggesting that much of what we see and perceive as natural is, in fact, carefully designed and manipulated. This aspect of his work invites reflection on the digital era’s influence on our perception of reality, where the distinction between real and digitally altered images becomes increasingly blurred.
Societal Reflections
“The Untitled Project” acts as a mirror to contemporary society, reflecting the saturation of advertising and the commodification of public space. By isolating and highlighting signs, Siber’s work underscores their ubiquity and the extent to which commercial interests infiltrate our visual field. This isolation also points to the clutter of modern life, suggesting a longing for simplicity and clarity amidst the noise of commercial messaging.
Learning from Matt Siber
Siber’s work offers several avenues for exploration and learning:
The Impact of Digital Manipulation: Siber demonstrates the powerful role digital tools can play in artistic creation, not just for aesthetic purposes but as a means of critical commentary.
Recontextualisation: By altering a sign’s context, Siber shows how the meaning and impact of visual elements can shift dramatically. This teaches the importance of context in visual communication and the potential for artists to subvert expected meanings.
Engagement with Contemporary Issues: Siber’s focus on advertising and public space invites artists to engage more deeply with the issues of their time, using their work to comment on and critique prevailing societal trends.
Visual Literacy: Siber’s project encourages deeper visual literacy, asking viewers and creators alike to be more aware of the visual cues and messages that permeate everyday life and fostering critical engagement with the visual world.
Matt Siber’s “The Untitled Project” provides a compelling examination of the role of signs in the urban landscape, utilising digital manipulation to challenge and critique their presence and impact. Through his innovative approach, Siber extends the dialogue initiated by photographers like Walker Evans, adapting it to the complexities of the contemporary visual environment. His work serves as a vital reference point for understanding the intersections between art, technology, and society, offering rich insights into the ways in which visual culture shapes and is shaped by the world around us.
I used this exercise as the perfect excuse to go back through some old photos. Here is the selection I have chosen for this exercise.
There was no real reason for choosing each image; some of them just evoked happy memories, some were from travels, and some were interesting objects.
The top row photos are interesting because they are all images that I was about to delete because they are “accidental,” but looking at them, I really like the interesting effects the light has produced on each one. I mentioned this in a recent group work session, and someone highlighted the similarity to intentional camera movement, which I must return to.
The Wave
This was a photograph taken at a yoga retreat in the south of Spain in October 2022.
River of Light-Evanescent, Liverpool 2022
South Africa – Robben Island
Reflection
The interplay between text and image is a dynamic aspect of visual communication, influencing how audiences perceive and interpret artworks or media. The form, placement, and content of text can significantly alter the viewer’s understanding and emotional response to an image.
Reflecting on my exploration of the dynamic interplay between text and image in my photographs of Spain, I’ve delved into how textual elements can significantly enhance visual art’s emotional and contextual dimensions. By juxtaposing informational captions with my own poetic expressions, I’ve navigated through varying degrees of interpretation openness, inviting viewers into the photograph’s factual realm and my personal, emotional experiences behind it.
Informational Captions My decision to use place and date as captions serves two primary purposes. First, it anchors the image in a precise moment in time and space, offering a historical and geographical context that frames the viewer’s understanding. This specificity, especially in natural settings like the sea, which are transient and ever-changing, not only locates the image but subtly evokes that era’s cultural and emotional landscape.
The choice of a light blue-aqua font to signify joy and calmness, along with bold, bright letters hinting at a beach party vibe, showcases how the form and colour of the text can evoke specific emotions. This aligns with my understanding of how visual cues in the text (like colour and font weight) can subtly influence the viewer’s emotional response to the image, even before fully processing the content of the text.
Poetic Captions Incorporating lines from my poetry into the later images opens up a more personal dimension, bridging the gap between the viewer and my experiences. This approach transforms the image from a simple depiction of a place and time into a narrative artefact, carrying the weight of my happiness and the significance of that moment at the beach. It shifts text’s role from purely informational to deeply expressive, allowing viewers to engage with the image on a more intimate level.
Refining My Approach To further develop this exploration in my work, I’m considering the following:
Contrast and Complement: I plan to experiment with captions that both contrast with and complement the image to explore the range of emotional responses I can evoke. For example, pairing a serene image with a melancholic poem could deepen the viewer’s engagement by introducing complexity and ambivalence.
Interactive Engagement: I’m keen on encouraging viewers to contribute their own captions or interpretations. This could be facilitated through digital platforms or interactive installations, making the viewing experience more participatory and broadening the range of interpretations.
Cross-disciplinary Exploration: I intend to draw inspiration from other artistic disciplines like music, dance, or sculpture to inform how I integrate text with imagery. This could lead to innovative approaches in how text is visualised or how it interacts with images.
Jenny Holzer is an American artist renowned for her profound integration of text and installation art to explore and critique societal issues. Her work delves into power, violence, identity, and love, employing texts ranging from provocative truisms to more extended essays and manifestos.
She uses LED signs, billboards, projections, and other mediums to disseminate her messages in spaces ranging from museums to urban landscapes. Perhaps best known for her “Truisms” series—a collection of aphoristic statements that challenge societal conventions and viewer complacency—Holzer’s work invites reflection, questioning, and dialogue.
Jenny Holzer’s “Truisms” (1977–79) are a seminal body of work that marked a pivotal moment in her career and the conceptual art movement. Comprising nearly 300 single-sentence declarations, these statements cover various subjects, including power, social dynamics, love, war, consumerism, and the human condition. The “Truisms” are intentionally varied in viewpoint, embracing contradictions and covering a spectrum from commonly accepted truths to provocative or contentious ideas. Phrases such as “Abuse of power comes as no surprise” and “Protect me from what I want” highlight Holzer’s ability to distil complex societal and personal sentiments into concise, impactful statements. This ambiguity is central to the work’s appeal, allowing for multiple interpretations and fostering a personal connection with each viewer.
Her work “Xenon for Venice (1999) used xenon projections to illuminate the night landscape of Venice with her signature truisms and phrases, casting large-scale, ephemeral texts onto the city’s iconic architecture and waterways. The texts invite interpretation and introspection, challenging viewers to reflect on personal and collective values.
A central theme of “Xenon for Venice” is the interrogation of public space and collective memory. Venice, a city steeped in history and cultural symbolism, is a poignant canvas for Holzer’s modern truisms. The juxtaposition of contemporary text against the backdrop of ancient buildings and canals creates a temporal dialogue that questions the permanence of cultural heritage and the evanescent nature of modern discourse. The projections, visible only at night and subject to environmental conditions, underscore the impermanence of human endeavours and the fleeting intersection of art, technology, and nature.
Ideas/Inspiration from Jenny Holzer
Use a public space as a canvas and a catalyst.
I could consider the local environment not just as a subject but as an active participant in my projects. Site-specific installations that directly engage with local ecological features or issues to invite public interaction and raise awareness. For example, projecting text or images related to local environmental concerns onto prominent buildings like the Town Hall or natural features like the Mersey Bank could make my message visible and impactful.
Embed some thought-provoking content in my work.
Craft messages or narratives that resonate deeply with local experiences and concerns. Use clarity and conciseness to make complex environmental issues more accessible and engaging. For instance, creating a series of succinct, evocative statements or questions related to local environmental topics and displaying them in public spaces to provoke community reflection and dialogue.
Foster interactivity and personal connection.
Design something to encourage personal involvement and interaction. An interactive installation or a space where people can add their own thoughts and reactions.
Chris Jordan
Chris Jordan uses photographic work combined with startling statistics that textually communicate the environmental and psychological implications of consumerism. His series, such as “Running the Numbers”, confronts viewers with the ecological and psychological consequences of our consumerist lifestyles, encouraging a reevaluation of our individual and collective roles in environmental degradation.
At the heart of “Running the Numbers” is a profound critique of mass consumption and waste. Jordan’s work confronts viewers with the sheer scale of American consumer habits, juxtaposing the mundane familiarity of consumer goods with their overwhelming collective impact. This series not only questions the sustainability of such consumption patterns but also prompts reflection on the individual’s role within this systemic issue. By visualising data related to waste, Jordan highlights the disconnection between everyday actions and their global repercussions, urging a reevaluation of personal and societal values towards sustainability and mindfulness.
Jordan employs a unique aesthetic approach by constructing intricate visuals that, from a distance, appear as cohesive images or patterns but reveal their true composition upon closer inspection. This methodological choice serves a dual purpose: it draws the viewer in with its initial visual appeal and then confronts them with the shocking reality of the content. The scale of Jordan’s works is crucial; the large formats not only allow for the detailed arrangement of thousands of items but also symbolise the enormity of the issues addressed.
Ideas/Inspiration from Chris Jordan
Visualise the invisible
Consider a local environmental issue that is often overlooked due to its scale or abstraction—something like digital waste.
Leverage Scale
Consider how scale can enhance the message I wish to convey
Foster personal connection and reflection
Aim to create something that highlights local environmental challenges and encourages viewers to reflect on their personal relationships with these issues.
Timur Si-Qin
Timur Si-Qin, Visit Mirrorscape: Arrive (2016). Backlit tension fabric display, aluminium frame, LED light system.
Timur Si-Qin is a contemporary artist known for his conceptual work that navigates the intersections of technology, nature, and culture. Born in Berlin in 1984 and of German and Mongolian descent, Si-Qin’s unique background and interdisciplinary approach have significantly influenced his artistic practice. His work often reflects on themes of spirituality, consumer culture, and the environment, employing a wide range of media, including sculpture, digital imaging, and installation art.
A central aspect of Si-Qin’s work is his development of a speculative framework he calls “New Peace,” which is based on a secular faith in the face of climate change and environmental degradation.
Si-Qin’s approach is characterised by the use of commercial and technological aesthetics. He blends elements from advertising, 3D modelling, and brand design to create works that question and critique contemporary consumer culture. His installations often feature elements such as LED screens, printed aluminium panels, and synthetic materials, creating environments that are futuristic and reflect current ecological concerns. Si-Qin’s use of technology is not merely aesthetic but serves to highlight the ways in which digital culture shapes our perceptions of nature and reality.
Ideas/Inspiration from Timur Si-Qin
Fuse natural and digital realms.
Consider how digital techniques and platforms can enhance the representation and interpretation of local environmental themes. This could involve using digital manipulation to highlight certain aspects of photographs or employing augmented reality to add layers of text or interactive elements that provide deeper insights into the environmental subject.
Develop a conceptual framework.
Start by identifying the core themes and messages I wish to convey about the local environment. Consider how these themes connect with broader ecological, cultural, or philosophical discussions. Use text not just as a descriptive tool but as a way to weave these larger narratives into photographs.
Challenge cultural narratives.
Use photography-text work as a means to challenge and expand local environmental narratives. This could involve highlighting overlooked aspects of the local ecosystem, questioning harmful environmental practices, or imagining future scenarios based on current trends.
Stewart, J. (2017) 8 Artists Who Harness the Power of Words in Art, My Modern Met. Available at: https://mymodernmet.com/text-art-masters/ (Accessed: 22 March 2024).
Cairdeall 