Showcase Portfolio: Hannah Wright

Hannah Wright

“A family album holds a profusion- a confusion – of pleasures and pains, as pictures old and new offer themselves up with depictive innocence. Family collections are never just memories”. (Holland 2000: 1).

 

The intent of Detriment (2016) is to unpick the family myths and reflect on a personal journey of loss, with significant memories from my childhood. Photographs from my childhood are haunted with memories of conflict and abuse, or as Barthes would refer to as the ‘Punctum’ of a photograph, a personal response that ‘pierces’ or ‘pricks’ me (Barthes 1980). My pieces are a response to the past, and elaborate on the referent, which haunts my family album, by combining elements of past and present. This project is similar to the workings of a family album in that I am bringing new perspectives, new understandings and new forgetting’s (Holland 2000: 1).

Letters of Expired Devotion (2017), is a progression from my previous project, Detriment to a Family Album; Where I continue to explore identity, memory, absence and metaphors for the process of remembering and forgetting. In a response to the absence of my own family album, my practise pieces together fragments of family history with my own memory, by creating reconstructed archives, with the aid of my Grandparents love letters. I created this project with the intent of placing my own identity within existing family archives, and shift personal details of family, loss and conflict into a public space. My practice enabled me to gather and piece together these fragments of family history, combine them with my own memory, to create a personal response to them.

“The archive oscillates between embodiment and disembodiment, composition and decomposition, organization and chaos” (Spieker 2008: 1)

My practice works in a similar way to an archive, in that I am organising, and piecing together fragmented memories, preserved in the form of photographs, files, objects and stories. My work has taken the shape of a reconstructed archive, as a substitute, to make up for the absence of the family photographs of my childhood that are in the possession of my Dad. An archive can become a haunted place, as they do not simply reconnect us with what we have lost. Instead, they remind us (Spieker 2008: 4). My practice recycles and reinvents family treasures, showing present family perspectives, such as my own, to reveal the time that has past. In Freud’s terms, the unheimlich can be connected to archives, as “Heim” meaning home in German, and “Heimlich” means secret, or hidden; Marking the unexpected return of an object we recognise as familiar.

George Wright, My Granddad, survived the sinking of HMS Sikh off Tobruk, 1942, at 20 years old. During a two-year interment as a prisoner of war in Italy, he became friends with a fellow prisoner, Bert Cottrell, who later became his Brother – in – law. The letters between my grandparents began when my Granddad was sent to Lympstone, Devon, to recover in a rehabilitation centre after falling ill with dysentery and malaria.

“Ownership is the most intimate relationship that one can have to objects. Not that they come alive in him; it is he who lives in them.” (Benjamin 1969: 61)

The letters were passed down to my mum and I when my Grandparents passed away, precious memorabilia to cherish and remember them by, as a part of their lives are preserved in writing. My starting point began with a running theme of Melancholy and absence throughout my practice.

Follow Hannah Wright on Instagram

In Focus: Alex Prager

The constructed worlds of Alex Prager

by Teresa Williams (9th december 2019)
Alex Prager (2013) Face in the Crowd

This session encourages participants to consider the place of memory and fiction in their images and the relationship between personal memory and constructed memory or narrative. They are encouraged to conduct in depth independent research into the work of Alex Prager

 

Prager’s distinctive works cross the worlds of art, fashion, photography and film…each of her images is packed with a multitude of emotional layers and narrative possibilities. Her early photographs were predominantly shot on sets of Los Angeles, with carefully staged scenes, further heightened by hyper-styled costumes, makeup, lighting and the use of a richly saturated colour palette, lending the images a particular dramatic intensity.’ (The Photographers Gallery 2018)

This Session could be run in conjunction with:

  • Places with a Past
  • Something Old Something New – post to come
  • Tell Me a Story – post to come

aims & Outcomes:

  • Participants will explore the place of memory and fiction in their images
  • They will research the work of Masumi Hayashi, Alex Prager, Sophie Calle and Trish Morrissey, and apply some of the concepts to their own work      
  • They will use old photographs as ‘aide memoirs’
  • Participant Outcome: 1 x 10 x 8 digital photograph
Alex Prager (2013) Welcome Home
‘Prager does for photography what James Ellroy did for crime fiction, inventing a neo-noir L.A. vernacular that creates a feeling of the past without the limitations of historical accuracy’ (Witt, 2019)

You will need:

  • Photo album(s) or digital photos from your childhood
  • Appropriate props / models
  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops) and imaging software
  • Tripods
  • Notebooks for participants to log research and sketch ideas
  • An Introductory Brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
Alex Prager (2008) from Silver Lake Drive
‘Prager’s oeuvre consists of heavily staged, large format images using rich colours. Her photographs can be seen as ‘single frame narratives’ that capture enigmatic stories within the edges of the frame. Both her photographs and films are characterised by the absence of a linear narrative; each of the works recounts a bizarre, perpetual unreality’ (foam, 2019)

preparation work:

  • Preparation Brief: Locate a memory from your childhood, and see how you can endorse and elaborate it with the help of family members / friends who share your memory, as well as photo albums / digital photos which may have recorded it. It’s important to have a strong sense of place as you will need to be able to visualise it. Make a note of any dominant colours there. Draw a sketch of how you remember the place. Your imagination will be necessary if you are unable to gather enough factual detail.
  • Ask participants to prepare for the session by conducting Independent research – talking to family / friends, finding photo albums / digital photos.
  • Ask participants to watch Alan Roth (2007) Re/collecting Memory, about the highly personal work of photographer Masumi Hayashi available here: Part 1 and Part 2
  • Ask paricipants to consider the relationship between personal memory and constructed memory or narrative by:

presentation ideas: Contextualising Alex Prager

suggested Session Outline:

  • Show participants the Presentation above / a selection of images by Prager, Hayashi, Calle and Morrissey and discuss their concept / staging / construction.
  • Referring to the Preparation Work sketch, decide where to stage a photograph which represents the memory. You may wish to restrict it to to a place although preferably you will have participants to stage a performance under your direction.  Decide how the ‘actors’ will be dressed, and what expressions or gestures them should perform.  Choose and source any props required.
  • What impact does the use of colour in Hayashi’s Gila River Relocation Camp have?
  • Research the colour theories of Wassily Kandinsky and Johannes Itten.  Consider how the choice of colour in background and costumes could have particular associations with mood or emotions.
  • Arrange the shoot and complete a risk assessment. If working in groups you can be mutual participants. Shoot in RAW format to allow for exposure and light balance tweaks later.
  • All participants to show their work for critique by tutor and peers.

In Conversation With: Abigail Reynolds

Abigail Reynolds

Abigail Reynolds is a multi-media artist living and working in Cornwall. At the core of her practice is an investigation of both visual imagery and language, often interrogating the relationship between the two. Her work frequently explores the subjects of time and space, the shifting of context in relation to chronology, the artists self, materiality and immateriality.  Her works develop in ever more progressive ways, transforming the past in relation to the present. During this conversation Reynolds and I discuss her projects The Universal Now, Lost Libraries of the Silk Road (2018), Lost Libraries Cabinet (2019) Teaching a Stone to Talk 1988 | 2017, and When Words are Forgotten (2018). The discussion gives an insight into how she considers her work in both its creation and its finalised state. It also sheds light on her perspectives regarding photography, language, conceptual artworks, time, representation in the visual arts and the self within a number of her artworks

‘Art is a visual language, and I use the same tools when I read it as I would in reading a poem or a play’ Abigail Reynolds
by Louis Stopforth (9th October 2019)
Abigail Reynolds (2015) Desert Seeds

LS: Your practice is often concerned with language and the written word. Is it this interest that initially drew you to photography, a visual language that can be communicated beyond dialect?

AR: Art is a visual language, and I use the same tools when I read it as I would in reading a poem or a play. I guess by dialect you mean maybe language ie an English reader can read a photo from China but not a text in Chinese … photography has become a global language but I don’t agree about dialect. There are many nuances in photography that place it in time and space. There’s the approach to subject as well as camera and lens technologies.

LS: A number of your works have been comprised of the endpapers of books, titled by the names of the books they originated from. This work immediately brought to mind the piece ‘Erased de Kooning Drawing’ by Robert Rauschenberg as it comprises of no physical trace of a ‘thing’ which we might be able to decipher. Instead the work is given its weight through the inclusion of its title. We begin to recognise the importance of this empty piece of paper, and its origins. How do you view the importance of the written word alongside artworks?

‘A title / caption / script can enrich the image or totally undermine it’

AR: The relationship between a visual work and a text is complex. A title / caption / script can enrich the image or totally undermine it. I use the title to carry part of the meaning of the work, but I only give it as much weight as other, visual decisions, such as scale. Some artists use titling very strongly to create a context for a viewer to think within, for others it’s hardly of any importance beyond having a way to list works on a consignment form. ‘An Oak Tree’ by Michael Craig Martin explains this whole mechanism with a concise and riddling brilliance.

Abigail Reynolds (1998/2017) Endpaper from Teaching a Stone to Talk

 

LS: ‘Teaching a Stone To Talk 1988 | 2017 is an endpaper that shows the imprint of objects on the papers surface from prolonged exposure to a light source (indeed other endpaper works show changes in tonal range from their aged exposure to light but none so viscerally as this one). This piece is essentially a naturally occurring photogram, an effect that has long occurred prior to photography’s ‘invention’ as a process. Do you yourself view this work as photographic? 

 

 

 

AR: I do, and I like the way it speaks about the action of light and of time very directly. It also happens to suggest a narrative of the reader, an imagination of the possible reader.

LS: In recent photographic history practitioners have explored more and more the materiality of the photograph, as well as exploring society’s preconceived notions of what photography is. During your on-going project: The Universal Now, you yourself repurpose images that had the intention of being objective-documentary images, those that supposedly hold cultural, historical and anthropological value within their intended place and condition. You then transform their physical properties, as well as their purpose. Is there a conversation about society still imbedded within the transformed work, or is it more formalist than that?

Abigail Reynolds (2009) from The Universal Now

AR: In these guide-book photos of monuments the hand of the author is usually minimised. The photos are not offered to view because of the photographer but because of what is photographed. The sense of a social document is very strong in them – like a portrait of society and what it values / what it has valued. In some works a change in camera or print technology between the two photographs is obvious. I enjoy the authority of these images and teasing this out a bit by making their time-bound condition more obvious by contrast.

LS: In your interview for Elephant titled ‘Abigail Reynolds: Cuts in Time’ you mention there being a ‘compression of time’ happening in London due to its architecture. Does this mean because of photography’s ability to only record fragments of time you are making a statement against photographs as singular artefacts within your integrated images; one image from one moment in time simply isn’t enough for representing the continuous change of a landscape?

‘I join the mass of people in feeling that nothing is stable or linear – everything is fluid, fugitive, shifting’

AR: Ah yes time is compressed in London – because you can see multiple layers of time everywhere if you look properly. This just isn’t true in Los Angeles for example. The photographs build on this pre-existing condition by compressing again. Compressing two times or images into one new surface. I understand that this can also be read as a release, but I see it as a compression. I suppose I join the mass of people in feeling that nothing is stable or linear – everything is fluid, fugitive, shifting. That goes for personal identity, city spaces, public or group identity. I like this – I mean, I am not at all afraid of this, and it’s clearly true. I like also the cyclical and repetitive – the return and the echo, as we constantly move, but also often return. Like a dance.

LS: As for the construction of these works, are the forms created by splicing images done for a particular reason – or is it an intuitive process that is informed by the images used and their significance to each other?

AR: I try to listen carefully to the qualities of the photographs both their structure and attitude to the subject, then I make cuts that are finely tuned to the particular qualities that interest me. It only really works, I think, if what I do builds on the formal qualities of what is already present. Otherwise, I am just in the way. I work on images in close up. I focus on the detail, I’m very respectful of the image.

LS: The project Lost Libraries of the Silk Road, is interesting as it tackles the issue of representation in the visual arts, in particular photography and moving image. The subject matter you are exploring is no longer visually present, and therefore impossible to record. In essence, were you documenting a void, an immaterial subject matter that pushes the invisible subjects of politics, conflict, natural disaster, and time to the forefront of the work? 

AR: Yes! Given what I just said about respect for the image, I wanted to flip the playing card and see the other side – no archive, no image even. What would I do then? What will we all do then?

LS: During the course of Lost Libraries the video is narrated by three separate voices. Is this inclusion of narration added to become another descriptor beyond the visual, relieving the camera of being the sole informant for the work? 

AR: I use three voices though to dislocate again the sense of a unified self – but to convey a disparate and fugitive self. When I didn’t have much of an image to interrogate, I found the blankness really acted as a mirror, and I turned to a much more subjective mode. The film is personal, because to be confronted by such enormous swathes of time and space heightened my awareness of how localised my sense of time and history are, how my values and assumptions are so very specific to the place and time in which I happen to be living. The word ‘timeless’ is often applied to art works as a term of praise but of course there is nothing outside time. If we are given the timeless we would not know what to do with it.

‘The word ‘timeless’ is often applied to art works as a term of praise but of course there is nothing outside time. If we are given the timeless we would not know what to do with it’

LS: Compared to previous work that would be undertaken in your studio, where you could control and deliberate on the work you produce, how was it operating as a travelling artist for the Lost Libraries project, where often moments can be fleeting and out of your control?

AR: I am as likely to be bewildered in my studio as I am on the road, funnily enough. I don’t always feel in control of it. In fact, I really enjoy moments when I don’t seem to be very much in control and feel as though I am being led, rather blindly.

LS: Alongside the film appears Lost Libraries Cabinet, which acts as a physical manifestation of an otherwise intangible film.  Is the inclusion of physicality within your work a way to give tangibility to subject?

AR: The unique aspect of visual art is that it is seen in real space and time. This makes it physical tactile, more fully present. So for me the confrontation is more direct. A film-maker recently said to me ‘you can’t understand things unless you can hear them’ – maybe it’s like that. Maybe it’s giving more voice to the form, and more form to the image. More layers, more opportunities to engage with the same thought but approached from slightly different angles.

LS: ‘When Words are Forgotten’ represents the lost literature of the libraries you visited whilst capturing the individuality of texts, represented in differing colours, shapes, and textures of acrylic and glass. The transparency of these materials reiterates how these books are physically un-attainable and appear almost more like ghosts from a bygone era, haunting our social memory. Do you think there is a comparison to be made between this body of work and photographs as recorded moments of time past?

AR: Often it is the case that while I’m making a new work, the full scope of connections with the new work and existing work is not clear to me until much later. This rather like post-rationalisation; a term used to explain that artists work intuitively, but once thoughts and feelings are resolved into a finished work, the rationale suddenly becomes clear – but only after the fact. I find this very often in making formal as well as conceptual decisions. Anyway, because of the work I am making now as opposed to at the time of ‘When Words are Forgotten’, about 18 months ago, or maybe because that work exists and is very present to me, I see the glass sheets like the skeletons of leaves or yes ghosts, some energy or structure that persists though the flesh has gone. Now I am very directly working with facsimiles of The Book of the Dead, and considering river crossing and the Daguerreotype, an early photograph on mirror. Making art is inexorably pressing forward into new terrain, which means the angle of view onto the past is altered constantly.

LS: Finally, what can we expect to see from you in the future?

AR: I am now working with the collection at The Harris – which is a museum / library / public gallery in Preston. Ways of working that interested me having made the Lost Libraries installation are my starting point. I will deeply interrogate a small selection of books and photographs, both in film, so that the surfaces can be seen up close, as detailed and sumptuous as when I hold them, and also by displaying them in a cabinet of glass – so the look of the audience is simultaneously made more complex by the distorting sheets of glass, and more direct by the film. I’m really enjoying the process. The work will be on display in The Harris from 14 February 2020.

Places with a Past

on this site: the places and spaces of joel sternfeld

‘The impulse to make a picture of an event which has already happened may seem counter-intuitive, if not impossible. Unlike a painter who may recreate a historical scene, the photographer has no such leeway’ (Albers, 2015)
Joel Sternfeld (1993) Central Park, North of the Obelisk, Behind the Metropolitan Museum of Art, New York from On This Site: Landscape in Memoriam

This is an adaptable session which aims to introduce participants to researching the history of places and spaces and the importance of aesthetics / accompanying text / context in its photographic representation. It encourages in-depth independent research into Joel Sternfeld’s practice and its commparative positioning within wider ideas regarding different ways of photographicically representing place, space and history.

Joel Sternfeld (2001) from Walking the Highline
‘The poet-keeper of the High Line is the photographer Joel Sternfeld. He has been taking pictures of it in all seasons for the year, and he has a gift for seeing light and space and color— romantic possibility of every kind— where a less sensitive observer sees smudge and weed and ruin. He would not just like the High Line to be saved and made into a promenade; he would like the promenade as it exists now to be perpetuated, a piece of New York as it really is’ (Gopnik, 2001)

This Session could be run in conjunction with:

Aims & Outcomes:

  • To undertake research into the history of the local / a specific area
  • To explore the relationship between image and text / caption
  • To visually experiment with the loading of narrative into single / multiple images in sequence and series
  • To understand the difference between literal and ambigous imagery (and thier consequences)
  • To consider the context of viewing such images and how this might impact on thier interpretation
  • Participant Outcome: 5 6×4 digital prints
Ori Gersht (1999-2000) A Train Journey from Cracow to Auschwitz from White Noise
‘Without their subtext, they lose their specificity. The eye passes over the photograph but cannot penetrate it. There is no mental adjustment we can make that will give it clarity, except by recourse to place, circumstance and [ori gersht’s] intention’ (Searle, 2005)

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • An Introductory Brief & Presentation for participants to outline the ideas and provide examples
  • Some local examples of places with a past *and preferably some visual representations of them to critique / discuss
  • A booked room to critique participants work (either via a projector (powerpoint with text) or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
Richard Misrach (1999) Battleground Point from Desert Cantos
‘Where the document begins and where the aesthetic object begins is really hard to tell. That’s fairly obvious in my work; there doesn’t seem to be an illusion of a straight document’ (richard Misrach in Caponigro, 1998)

Research: the work of joel sternfeld

 

Preparation Work:

  • Research the history of a local / specific area *local libraries, newspapers and people living in the area can help here
  • Ask participants to read Kate Palmer Albers (2015) ‘Joel Sternfeld’s Empty Places available here
  • Ask participants to read Fiona McDonald (2014) ‘Thomas Demand: Making History – with paper’ in BBC Culture available here
  • Ask participants to watch the video On This Site by Joel Sternfeld (2014) available here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers / image editing software
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers (or projectors if you are concentrating on sequencing a narrative only – create a powerpoint and include the text with each photograph)
Catherine Yass (2013) from Decommissioned
‘Catherine Yass photographed the former car showroom and dance studios that used to stand on the JW3 site once they had been decommissioned and emptied. The resulting large-format transparencies were placed around the demolition site – on diggers, under girders, in piles of glass and rubble – and then retrieved some weeks later, after they had been damaged scratched, ripped, and transformed by colour reactions on the emulsion. The images have been placed in the new building in light boxes and are in Yass’ words “small windows into a past and interior world illuminated by imagination and memory’ (outset, 2013)

Presentation Ideas: places with a past

Suggested Session Outline:

to come

Abigail Reynolds (2015) Desert Seeds
‘Making work is a strange and erratic dance of intuition, graft, brute materiality and opportunism. I allow myself to be attracted to certain images, forms and places which then become points to work away from. For me, making work is partly aversion and partly attraction. I enjoy to play with my sense of surroundings and also materiality. I also enjoy the difficulty of sculpture and the challenge of problem solving, which is always present when making anything three dimensional’ (Abigail Reynolds in Aesthetica, 2013)