10 o'clock and all's well
I just finished my interview for tomorrow's class. Sorry Neil, I didn't end up using your question(s), as I felt that they'd already more or less been answered in previous statements, and I filled up enough room with Karen and Erin's questions. For any of you who'd care to see the interview in its completion, read on:
Advanced Photo Critique
Interview
Robin Lauriston
March 21, 2007
Q: My first question is: I noticed two main themes in your work, one which is very personal and one very conceptual.
Your personal work seems to grow from a need to work though life issues or personal growth as well as family and other personal relationships. Your work appears to be some what therapeutic. I am wondering if through your work, you find the answers you may searching for? Does the therapy work?
On the other hand your conceptual images are much more based on shapes, textures and movements. The subject matter for your images seem random, and I wonder if they are. Are you seeking out certain 'images' before composing a piece or are you letting the randomly found image dictate your composition. In other words do you speak for your image or does your image speak to you?
A: I'm not sure "finding answers" is exactly the right way of putting it. My personal work is very therapeutic, but rather than helping me find answers, I think it helps me to see my world with a new perspective. I do think my work has helped me cope with a lot of things that I have had to deal with, such as stress resulting from school, relationships, and finances.
The conceptual work is a little harder to explain. Most of what I shoot in my spare time is capricious. It tends to be about the specific moment of the photograph, capturing the light or the lines of everyday objects in ways that may never happen again. This type of shooting is very passive for me. I let my eyes do most of the work, and I tend to think consciously only of the framing and composition in terms of line and shape. I tend to find this type of work more delightful because I simply allow my mind to wander. My autobiographical work tends to be more cathartic.
Q: Your new work is also personal - uncovering the layers of your boxes in storage. Can you explain the inspiration for this work?
A: Originally I had planned to do "Anonymous Self-Portraits" this semester, an idea I had a while ago, which I was interested in trying out. I was also looking to get away from my comfort zone, which is my more personal work, and try something I am not so familiar with. Although I had some images I was happy with after my first shoot, I didn't feel that the project was going anywhere.
When I had my individual meeting with Susan, we talked about some of my past work, including the project I did on my former homes. I mentioned how the stuff I'm storing in my mother's basement is a sort of link to that address for me. While I've never lived there, and most likely never will, I am still storing things there.
We discussed how everyone reaches a point in their life where they have "left the nest", but since they may be moving around a lot, as I tend to, there are certain items that get left behind. These are items which tend to be important to you, but not so important that you feel the need or want to keep them with you. This discussion led me to realize that while it is good to get away from one’s comfort zone, sometimes it is better to tackle the issues which are in front of you instead.
Q: Which artists and/or photographers inspire you? Would you say you follow a certain style in your work?
A: My knowledge of art history at this point is somewhat limited. There are some artists whose work has inspired me, but for the most part I get my inspiration from the people around me. I am a fan of many of the photographers from the early 1900s, such as Walker Evans, Ansel Adams, Eugene Atget, and Lewis Hine. I enjoy the pristine nature of the photographs done by members of the f64 group, and the exploration of motion in A.G. Bragaglia's work. All of these artists have had an effect on how I view photography as a medium, and my aspirations to achieve the same level of technical mastery.
I wouldn't say I follow any particular style, perhaps because I am still exploring my own preferences, or because I haven't settled into a niche, though there could be many more reasons as well. Maybe one day people will be able to look at a photograph of mine and say "yes, that's a Lauriston," but I don't think I've reached that point yet in my photography.
Q: Your project, throughout this term, has developed and changed somewhat from its original concept. Can you elaborate on the use of a book, how it will be presented, and how you have come to these decisions?
A: My work has always tended to evolve quite a bit between the initial project conception, and the final presentation. Usually when I start a project I have only a vague idea of where I’d like it to go. Sometimes I try to steer my work in a certain direction, but for the most part I’m content to let my work speak to me, and tell me where I should go next.
I decided to make a book out of the photographs I took in the lighting studio because it seemed to be the best way to present the work. This allows viewers to discover the contents of my “stuff bucket”, as I have been calling it, in the same way that I (re)discovered it. The photographs are presented sequentially, with each photo representing a new layer of information, preceded by a list of items appearing in the shot. I also like the idea of a book format because writing has always been important to my work. Beginning with my Foundation project, in which I accompanied my self-portraits with quotations from my favorite songs and poetry, as well as the journals I made for Intro and Documentary Photography, I find myself using textual components to compliment the visual.
Q: As an artist, what do you feel you will be doing in the future? What direction will you follow? Do you have any idea what you next project might be?
A: It’s hard for me to say where I’ll be headed in the future. I’ve thought extensively on this, but no clear answers come to mind. I think I’d like to do some more abstract or conceptual work, but I sometimes find it hard to maintain interest in those types of projects for an extended period of time. It tends to be easier for me to find meaning in a project that is central to my life, versus one that is purely theoretical in nature.
[note: this marks the transition between Karen's questions and Erin's questions]
Q: What aspect of photography, as a medium, appeals to you the most?
A: I don’t consider myself a phenomenal artist when it comes to drawing, painting, or any of the other standard fine arts. I can get by in those fields, but I wouldn’t say I am especially gifted. In short, I enjoy the accuracy of photography. I don’t have to worry about whether my proportions or perspective are correct, or if my mark-making is expressive, and any other concerns a drawer or painter might have.
Q: What part fascinates you?
A: The magic. Technically I suppose it’s the chemistry or physics, but I like to think of it as magic. You expose a piece of paper to light, dip it in a series of liquids, and an image appears. It is simply magical.
Q: Which part do you find most challenging/comes most naturally?
A: I would say the challenging part of photography is film exposure. I have had a lot of problems in the past when it comes to my film not turn out correctly. Sometimes the issues are just simple things, like having the wrong film speed set on the camera, or leaving the dark slide in, preventing the film from exposing properly. Other times it is because I didn’t meter correctly, or I compensated in the wrong way. For example, one time I was shooting outside in the snow, and to compensate for the glare from the snow I closed the aperture one stop instead of opening it, so my film was two stops underexposed.
As for what comes most naturally, I would like to think I am good at printing black and white photographs. In most cases I find it easy to tell what I need to change in a print in order to make it the best it can be. Of course, this is not universally true, as I have had some particularly bothersome prints, which have taken quite a lot of time and effort to produce.
Q: What type of photography appeals to you the most (i.e. portraiture/landscape/abstract etc)?
A: I would say I dabble a fair bit in all the categories you listed. I enjoy the pure aesthetic of abstraction, but I find I need to know what the subject of a photograph is in order to be satisfied. I also enjoy the geography of faces, and the study of nature. I would say for the time being I am content to explore any facet of photography which presents itself to me.
Q: What aspects of photography do you want to explore in the future?
A: I would love to try out some alternate processes, such as cyanotypes and pinhole photography. My foundation teacher, Geri Nolan, does some amazing work with a pinhole camera. I am also interested in learning about the 4x5 view camera. I really enjoyed my Architecture class with Adrian Fish, and I think knowing 4x5 would be a very valuable asset if I choose to do more architectural photography.
Advanced Photo Critique
Interview
Robin Lauriston
March 21, 2007
Q: My first question is: I noticed two main themes in your work, one which is very personal and one very conceptual.
Your personal work seems to grow from a need to work though life issues or personal growth as well as family and other personal relationships. Your work appears to be some what therapeutic. I am wondering if through your work, you find the answers you may searching for? Does the therapy work?
On the other hand your conceptual images are much more based on shapes, textures and movements. The subject matter for your images seem random, and I wonder if they are. Are you seeking out certain 'images' before composing a piece or are you letting the randomly found image dictate your composition. In other words do you speak for your image or does your image speak to you?
A: I'm not sure "finding answers" is exactly the right way of putting it. My personal work is very therapeutic, but rather than helping me find answers, I think it helps me to see my world with a new perspective. I do think my work has helped me cope with a lot of things that I have had to deal with, such as stress resulting from school, relationships, and finances.
The conceptual work is a little harder to explain. Most of what I shoot in my spare time is capricious. It tends to be about the specific moment of the photograph, capturing the light or the lines of everyday objects in ways that may never happen again. This type of shooting is very passive for me. I let my eyes do most of the work, and I tend to think consciously only of the framing and composition in terms of line and shape. I tend to find this type of work more delightful because I simply allow my mind to wander. My autobiographical work tends to be more cathartic.
Q: Your new work is also personal - uncovering the layers of your boxes in storage. Can you explain the inspiration for this work?
A: Originally I had planned to do "Anonymous Self-Portraits" this semester, an idea I had a while ago, which I was interested in trying out. I was also looking to get away from my comfort zone, which is my more personal work, and try something I am not so familiar with. Although I had some images I was happy with after my first shoot, I didn't feel that the project was going anywhere.
When I had my individual meeting with Susan, we talked about some of my past work, including the project I did on my former homes. I mentioned how the stuff I'm storing in my mother's basement is a sort of link to that address for me. While I've never lived there, and most likely never will, I am still storing things there.
We discussed how everyone reaches a point in their life where they have "left the nest", but since they may be moving around a lot, as I tend to, there are certain items that get left behind. These are items which tend to be important to you, but not so important that you feel the need or want to keep them with you. This discussion led me to realize that while it is good to get away from one’s comfort zone, sometimes it is better to tackle the issues which are in front of you instead.
Q: Which artists and/or photographers inspire you? Would you say you follow a certain style in your work?
A: My knowledge of art history at this point is somewhat limited. There are some artists whose work has inspired me, but for the most part I get my inspiration from the people around me. I am a fan of many of the photographers from the early 1900s, such as Walker Evans, Ansel Adams, Eugene Atget, and Lewis Hine. I enjoy the pristine nature of the photographs done by members of the f64 group, and the exploration of motion in A.G. Bragaglia's work. All of these artists have had an effect on how I view photography as a medium, and my aspirations to achieve the same level of technical mastery.
I wouldn't say I follow any particular style, perhaps because I am still exploring my own preferences, or because I haven't settled into a niche, though there could be many more reasons as well. Maybe one day people will be able to look at a photograph of mine and say "yes, that's a Lauriston," but I don't think I've reached that point yet in my photography.
Q: Your project, throughout this term, has developed and changed somewhat from its original concept. Can you elaborate on the use of a book, how it will be presented, and how you have come to these decisions?
A: My work has always tended to evolve quite a bit between the initial project conception, and the final presentation. Usually when I start a project I have only a vague idea of where I’d like it to go. Sometimes I try to steer my work in a certain direction, but for the most part I’m content to let my work speak to me, and tell me where I should go next.
I decided to make a book out of the photographs I took in the lighting studio because it seemed to be the best way to present the work. This allows viewers to discover the contents of my “stuff bucket”, as I have been calling it, in the same way that I (re)discovered it. The photographs are presented sequentially, with each photo representing a new layer of information, preceded by a list of items appearing in the shot. I also like the idea of a book format because writing has always been important to my work. Beginning with my Foundation project, in which I accompanied my self-portraits with quotations from my favorite songs and poetry, as well as the journals I made for Intro and Documentary Photography, I find myself using textual components to compliment the visual.
Q: As an artist, what do you feel you will be doing in the future? What direction will you follow? Do you have any idea what you next project might be?
A: It’s hard for me to say where I’ll be headed in the future. I’ve thought extensively on this, but no clear answers come to mind. I think I’d like to do some more abstract or conceptual work, but I sometimes find it hard to maintain interest in those types of projects for an extended period of time. It tends to be easier for me to find meaning in a project that is central to my life, versus one that is purely theoretical in nature.
[note: this marks the transition between Karen's questions and Erin's questions]
Q: What aspect of photography, as a medium, appeals to you the most?
A: I don’t consider myself a phenomenal artist when it comes to drawing, painting, or any of the other standard fine arts. I can get by in those fields, but I wouldn’t say I am especially gifted. In short, I enjoy the accuracy of photography. I don’t have to worry about whether my proportions or perspective are correct, or if my mark-making is expressive, and any other concerns a drawer or painter might have.
Q: What part fascinates you?
A: The magic. Technically I suppose it’s the chemistry or physics, but I like to think of it as magic. You expose a piece of paper to light, dip it in a series of liquids, and an image appears. It is simply magical.
Q: Which part do you find most challenging/comes most naturally?
A: I would say the challenging part of photography is film exposure. I have had a lot of problems in the past when it comes to my film not turn out correctly. Sometimes the issues are just simple things, like having the wrong film speed set on the camera, or leaving the dark slide in, preventing the film from exposing properly. Other times it is because I didn’t meter correctly, or I compensated in the wrong way. For example, one time I was shooting outside in the snow, and to compensate for the glare from the snow I closed the aperture one stop instead of opening it, so my film was two stops underexposed.
As for what comes most naturally, I would like to think I am good at printing black and white photographs. In most cases I find it easy to tell what I need to change in a print in order to make it the best it can be. Of course, this is not universally true, as I have had some particularly bothersome prints, which have taken quite a lot of time and effort to produce.
Q: What type of photography appeals to you the most (i.e. portraiture/landscape/abstract etc)?
A: I would say I dabble a fair bit in all the categories you listed. I enjoy the pure aesthetic of abstraction, but I find I need to know what the subject of a photograph is in order to be satisfied. I also enjoy the geography of faces, and the study of nature. I would say for the time being I am content to explore any facet of photography which presents itself to me.
Q: What aspects of photography do you want to explore in the future?
A: I would love to try out some alternate processes, such as cyanotypes and pinhole photography. My foundation teacher, Geri Nolan, does some amazing work with a pinhole camera. I am also interested in learning about the 4x5 view camera. I really enjoyed my Architecture class with Adrian Fish, and I think knowing 4x5 would be a very valuable asset if I choose to do more architectural photography.