Thoroughly Post-Modern: Defining My Practice by Defining an Art Movement
As a young artist, recognising and being aware of your own photographic practice is extremely important; it allows you to understand the ways in which your work fits into the wider context of Art and the way in which your work functions to mean. I have been studying and practicing photography since I was sixteen years old, but it wasn’t until my university study commenced that my practice began to mature and evolve, and I began to feel more like an artist than I have ever felt. This evolution is largely due to an engagement with art theory and art criticism. Throughout my study, these enquiries have led to the realisation that as Post-Modernist art; my practice
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I was encouraged to explore history of photographic portraiture, and look at how the different locations, street and studio, affect portraiture; from this, the task was to devise a project that features portraiture in either setting. My response to the brief was to create a portrait of my life by capturing vernacular snap-shots. I had just started University, when, at the time, everything around me was changing; I had left a ridiculing long-term partner, moved back into shared housing and my friendship group was evolving, never constant. My aim was to document these issues and variables to discover and affirm whom I was and what I was going through during this time. Without telling people my life story, I wanted people to be able to get to know me and understand who I am by looking at these images. I captured images digitally, carrying my camera with me at all times. It accompanied me to friend’s houses, parties, and nightclubs, to work and sat next to me at home. During this time I had captured over 1800 images, this was edited down to six colour images, presented linear with two portrait-format images “book-ending” the four images between. The set reads as a capsule of feeling, with each image representing feelings of insignificance, heartbreak, pain, detachment and isolation.