Wells, L. (ed.) (2009) Photography: A Critical Introduction. (4 edition) (s.l.): Routledge.
My original idea for this assignment, to illustrate my involvement with a local refill popup shop, has of necessity been put on indefinite hold. In light of the new guidelines, and the correspondence from Dan Robinson, it is no longer appropriate for me to visit the shop except when I am actually working there. I had made a start on this project and include a couple of photographs I had already taken. I can’t say if these would have formed part of my final submission and are included here purely as work in progress.
Myles and Sebastian
Self-portrait as customer
Since I am now unable to interact with anyone else for this assignment I have had to rethink this whole approach. I can’t see how to manage this assignment without reference to the virus pandemic. Given the overall brief for this assignment is around my involvement with my local community, it seems to me that a valid approach is to look at how the virus prevents me from any involvement as such.
Liz Wells says of the development of documentary photography “The endeavour to make great statements gave way to the recording of little, dislocated moments which merely insinuated that some greater meaning might be at stake” (Wells,2009:73). I may not be able to explicitly document my involvement, or lack of it, but I can allude to it. I want to explore the idea of using still life as a way to describe the things I can no longer do. I can photograph objects from my house that are no longer directly relevant to my life as I can’t use them and stick to the current government guidelines. It is quite possible that I may not find enough objects to produce 10 photographs but I will try this.
This approach will of course make any results extremely subjective – but since the idea is to illustrate my relation with my own community, this was always going to be the case.