"Everything around us is in a constant state of movement, shifting the environment we find ourselves in every second of every day, no matter how slight. Even the ground itself on which we stand is, in truth, moving up to speeds of 1,038 mph. We find ourselves in a constant state of shift as well, changing clothes, hairstyles and the people we associate with. The point is nothing stays the same for longer than a moment. This constant state of flux occurs almost invisibly as most things pass by unnoticed, as insignificant events. However, some events, deemed as significant, are often relived a hundred times over. Whether this be birthdays and weddings captured on visual media like photographs or video, or events deemed significant to a larger portion of society such as the 11th of September terrorist attacks that people on the other side of the world became aware of minutes later and were able to relive it thanks to technological advances in photographic practices.
It is these moments that I want to explore in my work along with the theme of certainty. Certainty, unlike these moments implies concrete parameters; it can either be one thing or the other, black or white, not both. But certainty also can be in a state of constant shift. A coin flip for example is only certain when it has stopped on a surface or the back of a hand. Yet, before this there is the moment of uncertainty. This example shows a small and definite shift from certainty to uncertainty however with the infinite possibilities that occur within any one persons day it seems that nothing can be certain.
Using the ‘decisive moment’ technique pioneered by Henri Cartier-Bresson I hope to explore the topic of certainty both through narrative and symbolism by interrupting the flow of uncertainty to certainty by photographing the last fraction of a moment before the transition is complete, perhaps offering an alternative conclusion to a created narrative. This conclusion may not be in line with the events leading up to it. This is because as much as photography can tell us about a moment, it often fails to impart knowledge about the moments before and after the photographed one, unless there is obvious impact from the past or nearing clues of the future.
Narratives are normal within my work so another project based around series’ would be fitting. My previous projects have all used multiple images to convey meaning effectively, the smallest series being a triptych and the largest comprising of fifty separate images, which created one large image. I find that series express narrative in a very basic way however and I aspire to tackle this and try to make them more interesting. This may involve chronology and creating a narrative that is also a palindrome or other similar ideas, mixing the realm of images with rules usually associated with language.
These are all possible elements to incorporate into my work and I may use one, or all of them. Equally I may use none of them as my work follows stages and each stages direction is determined by the success not only of the last step, but of the individual elements within this stage."
At first, i wasn't sure about the project and its longevity but I have come to realise that the relative limited nature of its potential should hopefully work in my favour due to the short time we have to produce work for this project as my group and I are going to be exhibiting all our work at the end of the term in Nottingham.
I've done a small amount of work for this project so far, as i've mainly been trying to sort out my ideas and make them as strong as possible before starting the physical process of manifesting them. Below is an example of the work i have produced so far. I will post more work as it progresses (hopefully at least one update a week) but, for now, enjoy.
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