Tag Archives: intimacy

Please forgive the quality of the picture, even though I kinda like it’s gritty colour-casted quality.

So, what’s it about? I am preparing to apply for an Arts Council’s Grant for the Arts. This is my initial mind chart to which I will be adding ideas and concept during week.

I am applying specifically for support towards researching and developing my conversations project of which Bologna Portraits is part.

Alison Lloyd, my mentor at the AA2A residency at Nottingham Trent University will be giving me a hand and I hope to get some support from Fabrica as well.

Let you know more about the project very soon. Enjoy the Working Progress in the meantime.

I was up in Nottingham last week and it was the first time I finally could get my hands on a scanner. I managed to scan 5 to 6 hours a day then my eyes started to go fuzzy, total scans 120-130, but I might have to re-scan them.
Highlight – I was pleased to mean Jean Baird, great photography lecturer.
On the whole, they were  four intense days packed with lots of information.
Some notes for the next scanning session, I need to concentrate on effective work flow, consistent file size and what output I am looking for.
Initially I thought I might go for a big file size especially for the wardrobe pictures (which I would like 2x3m), so I could have them at the ready when needed. But it seems more practical to scan all images at a general 140-180mb, so I have a general size for all and when the occasion presents itself book a flex scanner to get detailed scans. Here are some examples of pictures scanned and problems I have had. They are coming up with strange moray lines, marks and a overall red cast.
This is something similar to Moray lines. not sure what I’m doing wrong.

Strange marks appear on the scan that are not on the negative like out of focus dust:

I’m still a bit confused about what I’m doing. But it’s always this way – very clear ideas until I have to actually do something and then I lose the plot.
I am going towards a good size exhibition. Time to think about ways of exhibiting
Anyway, on with the project, I’m scanning negatives that are part of my conversations project. I’ve got 3 different locations at the moment and bits and bobs from other places that I can maybe use in context.

Bologna Portraits
Bank of Ideas

Alison was happy with the result and very encouraging. I find conversations with her are always inspiriting and  meeting with the other artist is also always very productive.
Andrew came up with some great tips.
Talking to Alison I might have found a solution to the portraits I took of Fran in the RTH. Showing them as a sequence instead as of a singular image. Either using a grid or doing a Final Cut  editing of the images so that one follow the other in different speeds, so to reiterate the idea of boredom, time and dialogue.

This is an extract from Questions and Answers part of an exhibition called It’s All About Paradise II


In this moving image piece Questions and Answers I examine found objects, placing them in their traditional context and questioning their functions. My interest lies in nostalgia and ownership, exploring the boundaries between found objects and the ‘objective’ subject, subverting their established meaning and detachment. By animating objects that have lost their use or whose design has been replaced and modified by more sophisticated devices, I question the human relation with the past as an object or as the waste as well as interrogating the nostalgia that drives capitalism towards fetishism.

I started this project in 2009 on Bologna, my hometown.

I want to go back to the reality of Bologna, dirty and industrial after 4 years in the U.K.

It depicts change in the landscape in a place where things never change.

This particular construction site is for the high-speed train wanted by the newly privatised Trenitalia.

My Photography MA final project.

I would like to have comments, opinions, thoughts about it. There is also a summary of the general idea.

Wardrobes are, according to Barchelard, “veritable organs of the secret psychological life”. Without these objects our intimate life would lack a model of intimacy. In fact, if we look closer into a wardrobe it is made up by shelves, drawers, chests and false bottoms that contain objects which are invested with a particular subjective influence: “like us, through us and for us they have a quality of intimacy”.
These images of wardrobes are conceived in a very rigorous way, using a consistent type of lighting and framing. Through this type of structure I am trying to create an objectifying, normalizing context in which I can insert the person’s wardrobe. I take as example the Beckers’ comparative aesthetics and their idea of standardizing the subject’s representation so to bring out its particularity.