Reflecting upon my findings, I feel I have developed a stronger understanding of what my work represents and how I establish this during production. Beginning my experiments in staged photography, I found it challenging to address clear narrative in which my early experimental projects are based on more recreational concepts.
My strongest influences throughout my development include Alicia Savage, Carrie Mae Weems and Gregory Crewdson. I found Savage particularly influential as her work brings a unique style that possesses a surreal quality consisting of ethereal visuals. The element of ‘unknowing’ in her work makes it all the more mysterious and this is an aspect that I am intrigued to explore further in future practices. Crewdson applies this element to his practice in a similar sense where the audience is given the impression of encountering a moment in limbo. I admire this concept of not knowing whether something has occurred or not in Crewdson’s imagery as this leaves the viewer in suspense and potentially invites us to solve the story of the image. Carrie Mae Weems also captures figure and space with harmonious perception in which she recognises places by the people who we find there, sharing a comfortable relationship between viewer and subject. I find these photographers have broadly influenced my approach to narrative in how I can bring background to the figure and space.
Methodologies I have found particularly useful towards my creative practices include Narratology, ethnographic and theatrical photography as I find these are crucial factors that encompass elements such as acting into a representational story. I have found reviewing work from both traditional and current generations an effective way of developing my conceptual ideas. For example, observing traditional painting has influenced me to address scenic values more deeply when engaging the subject with the space. I have also found reviewing photographic works from 20th century photographers such as Cindy Sherman enlightening in terms of how a subject is stereotyped in relation to their surroundings. I find I can relate my own practice to other practitioners as I have explored methods that others have used to accomplish their outcomes. For example, by observing the work of Gregory Crewdson, I have further extended my knowledge of how I can shape light more efficiently with additional lighting tools. I find my final image from my fifth project ‘Return’ echoes Crewdson’s style in which I attempted to present a haunting sci-fi atmosphere in a similar sense. I have also learned to be more specific in detail with regards to the staging of the production such as costuming. I find my creative work draws to a close when I am able to make a critical judgement as to how it responds to my findings upon viewing the work.
In conclusion, my findings have brought my practice to a climax and I feel I have developed more structure in narrative representation. I present my final further developed projects that explores the theme of ‘Sanctuary’ and the concept of finding inner peace and comfort in visiting the sentimental space. I intend to explore deeper into why we visit places on a more personal and symbolic level. Overall, I find my supportive research has given me greater understanding of engaging narrative presence in staged photography.
Moma All rights Reserved (2015) Cindy Sherman [Online] Available from: http://www.moma.org (Accessed 20/12/2015)
Carrie Mae Weems (2015) The Kitchen Table Series [Online] Available from: www.carriemaeweems.net (Accessed 29/12/2015)
Casper David Freidrich.org Copyright (2015) Casper David Friedrich [Online] Available from; www.caspardavidfriedrich.org (Accessed 10/12/2015)
Alicia Savage (2015) Alicia Savage [Online] Available from: http://www.aliciasavage.com (Accessed 23/12/2015)
Artist I White Cube (2015) Gregory Crewdson [Online] Available from: http://whitecube.com/artists/gregory_crewdson/ [Accessed 28/11/2015]