Context & Analysis
1. Guest Lecture: Asa Johannesson
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During the lecture Asa not only led us to the more specific journey of Practice as Research Introduction. Instead of introducing a procedural workflow. Asa brings up the more essential purpose and benefits of such methodology, which gave me a profound impression. First, such methodology requires forming a logic from the process, making, materials, and technique. Through such a process, it brings practice together with theory in ways that privilege practice. In production and process, it privileges experimentation and ‘now knowing’. The benefit of it is that it can overcome practice as rulebound by theory. Another benefit is it requires identifying relations between the concept, process, final work, and its presentation/installation. It makes a connection between the making and meaning and knowledge production.
Such methodology enlightened me and challenged my previous creation process. I was struggling with how to merge the concept, research, theory and practice. During my previous project, the theories and diverse ideas that came from researching were hard to completely absorb into the practical work. In reverse, it became a rule-bound for further development. However, the Practice as Research which emphasizes experiment and ‘now knowing’ could be one solution. After this research knowledge settles into subconscious perceptions. When confronted with a more specific topic, it will emerge to help us make judgements, choices and practical plans.
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2. Seminar — What is Photography?
This lesson delves into the fundamental disparities between photography and images, with a primary focus on a crucial semiotic distinction. The key divergence lies in photography's indexicality, denoting a causal relationship. In semiotics, a photograph serves as proof of 'that-has-been,' encapsulating a decal, a transfer of reality—a moment preserved in time. The discussion also encompasses how people interpret images and photographs. Unlike text, which unfolds linearly from left to right, the scrutiny of images and photographs often lacks a specific direction, allowing for various interpretations based on the order in which elements are observed. This variability contributes to diverse understandings of the same image for different viewers.
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The separation between photography and images proves valuable in categorizing creative work. The inherent reality-based nature of photography prompts contemplation of real-life phenomena as a creative starting point. A clearer understanding of how the viewer reads images has inspired me to reflect on the semiotic meanings of specific elements in the work for the viewer, which in turn has helped me to make choices and designs in a way that the audience could engage.
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3. Workshop & WIP Show Preparation
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The 'From Screen to Wall' Workshop, organized by Josef Konczak at the beginning of the semester, had a profound impact on my artistic practice. Initially focused on the comprehensive digital workflow for processing images, the workshop progressed systematically, delving into various aspects such as paper surfaces, printing techniques, mock-ups, and frame types. This comprehensive understanding elevated my ability to produce images at a more professional level, both for the audience and myself.
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As the workshop visually demonstrated diverse printing paper types, a realization dawned on me regarding the significant disparity in narrative impact between viewing an image on a digital screen and experiencing it as a physical print. This insight holds particular importance in the photographic creation process, where constant experimentation is essential. Printing images on the wall proved instrumental in enhancing self-reflection, providing a more vivid and inspiring impression for the creator.
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On a different note, the WIP Show offers creators a valuable opportunity to receive feedback from a broader audience. The communication dynamics between works and the audience are multifaceted, intricate, and context-specific. Discrepancies between the creator's expectations and the audience's initial impressions may arise, serving as a source of inspiration for further adjustments and creative refinement. The preparatory stage, involving challenges such as mounting, printing, installation, and exhibition planning, adds a layer of complexity. Yet, this experience is invaluable for artists, as the presentation of their work will be a recurring aspect of their future practices.
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