Sunday 19th July Yesterday I worked on the 3 images, blacking them out and leaving small areas of light. These are for digital projection in Slideshow form – through a Proxima projector. Today I am concentrating on the Printmaking process which I intend to use to create a backdrop or screen for the projected images. I calculated, mathematically, what size these images needed to be to form a screen of desired proportions. Having flipped each of the digital images in © Photos

Most of yesterday was spent clambering about in our loft seeking out my old photographic equipment and projectors and creating a dark room to set them up in. Much of this morning has been spent sifting through 35mm photographic slides. I have selected 3 which were taken and processed in the 60’s and 70’s – all contain crowd scenes near water. All 3 images capture a brief moment when much was going on and changing by the second. I needed to re-mount one of the slides as the

Tuesday 14th July After meeting with my supervisor yesterday I am concentrating again on my proposal….. Working title The dissolution of now, wilting into then What is being explored This enquiry is based upon the fading of an experience as it is consigned to memory. It will also explore nostalgia as both a construct with biographical meaning and a channel for romanticism. The enquiry will include deeper analysis of statements such as, The state of not knowing is a valuable o

Friday 10th July Feedback and thoughts form the Group Crit … How will the viewer realize that my installation is about memory? Linear time and non-linear … how it links to memory Hand held torches? Use an image that everyone remembers? Pressure pads for lighting? Textiles in the surface design room – see Tom Research The film Blow Up www.theothercinema.com www2.tate.org.uk/naumen/process Soundscapes – National Gallery Saturday 11th July The table-top printing press has arriv

In " Between Memory and History" the French Historian, Pierre Nora writes "It (Memory) remains in permanent evolution, open to the dialectic of remembering and forgetting, unconscious of its successive deformations, vulnerable to manipulation and appropriation, susceptible to being long dormant and periodically revived.” p 18 Memory, to me, is like a flimsy, transparent, net curtain. By projecting an image onto such a curtain, the constant alteration to memory is signified by

Recollection can be fragmented into parts. Some parts might not be factually correct, parts might be missing and all parts of the recollected experience can fluctuate and change each time . Hanging printed images on thin cotton allows them to continuously turn and move in the way that parts of our memory appear and fade / disappear. The philosophers Nietzsche and Derrida both refer to possible revelation in terms of a rupture which could create a condition of historical se

Peter Kennard Installation at Imperial War Museum 2015 How to demonstrate the fading and fragmentation of the experience as it metamorphs into a reminiscence? In my tutorials this week we have discussed my continued investigation of photography in relation to the capture of an instant moment. Unlike the cognitive, the photograph makes details of the moment identifiable, no matter how many times the image is re-visted and no matter how long after ther event. The visceral exp

Things experienced are stored in the mind and re-visited as recollections or memories. These memories are susceptible to gaps and embellishments. Listening to "Cutting Up the Cut-Up" (BBC Radio 4, 24th June) introduced by Ken Hollings, it struck me that what happens in the Cut-Up process is similar to what can happen in Recollection. What is perceived as a recollection of an experience can be created from different fragments of the memory which are put together in a new order

Newspaper headlines from 30th June, layered and covered over in places #fruits