Notes for a Tutorial

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5


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Figure 1

I was able to book an online face to face with Wendy McMurdo on 3rd April to reflect and frame my way forward in terms of exhibition production and refinement.

The Gallery Context

I conveyed the latest gallerist response to my draft work; I need to listen to views but also find ways to frame my own inputs and effectively synthesise the conversations and expectations.  Print sales are down globally so fretting about those is not to be focused upon – worrying about sales is short-sighted.

I need to regard the show as a ‘calling card’ for my work, for example creating site-specific projection can be propelled as a principle to other cities, places and communities.  I should think about how the show can leverage future commissions, i.e. the next project.  Thus, I need to list out who should be invited and also do an artist’s talk.

Documenting at the show will be a critical part of how to use it in the future even if key people cannot attend.  It is a step to building a reputation.  Think of the strategy through this means and beyond.  It is a spring-board.

The experience of designing a solution to the installation is a series of experimental moves and needs to be learned from and recorded.


Develop a very clear strategy of using the chosen media;

Projection is impactful, about large-scale urban space and a contact to my professional background.  It is thus constrained by the gallery (its demands, expectations and dimensional limitations) so keep thinking beyond that space.

Think about using the archival material.

Fragments on the wall can be a method of display for the concrete tablets.

Do not over complicate the presentation.

Look at the circa 1870 book on the surface of the moon that was modelled in plaster, fig 1.  (The moon : considered as a planet, a world, and a satellite by Nasmyth, James Hall 1808-1890 Carpenter, James, 1840-1899)  Think of the aerial view of the city and the grid of maps/city planning.

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Figure 2

On Editing to date;

Think selectively what should be transferred to concrete. Can the series of circa 57 images (fig 2 shows 6 by way of example) be made into a zine and a small number selected for the concrete printing process?  Think about a web-based streaming of these images as well as the projection stream.

The concrete is a permanent embodying of the observation, a residue, a memoriam.

There is an anonymous blandness to the images.

Think about the concrete/zine/print/projection as a series of ‘carriers’ – for the images to be conveyed.

Look at etching one day.

All of this is the beginning of an artistic practice.  It is about art and architecture.

The fluency of the work will articulate more deeply and translate into solid and coherent practice.


Image from accessed 3. 4. 2018


Concrete Tablets

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5


Figure 1

Precursor to Editing

There is a mental pondering pervading my mind about the next phase of developing the concrete installation; the editing of images.  I am seeing this as a big task. To aid the visualising, I have laid out, for the first time, the tablets as have been hand-made to date, from two batches.

The editing strategy will be to select images that convey a whole message, that are tangible as opposed to the ephemeral and that will work at square and landscape formats.  Notwithstanding this, the portrait format can be utilised on the A4 and A3 sizes.


Figure 2


Laying out the tablets begins to provoke ideas about display methods, from table to vertical framework, to hanging.  There is also the possibility of the tablets, if slotted into a vertical frame, not only showing the textural quality of the ‘backs’, see fig 2, but also alternating the face of the tablets to show both sides, thus mixing the texture with the imagery on each side of the overall framework.

Fig 1 shows the number made to date and their spatial interrelationships, or at least one method of showing their pattern.  It means I can model the sizes on the laptop and the numerous layout permutations, then insert images. The sizes are thus;



210x297mm (A4)

297x420mm (A3)

All are 15mm thick with the exception of the A3, which is 18mm.

Figures 1, 2 and 4 show the slight variance in colour, texture, smoothness and markings to the tablets’ surfaces which contribute to the strategy of creating unique, tangible peices, as referenced in my looking back at Jan Svoboda.

The layout also increases my expectation in terms of precision and consistency of spacing between the edges of all tablets in the group.


Figure 3


Figure 4

Figure 5 shows the precision of the edges and corners and the slight blemishes that come from the casting process.


Figure 5

Figures 6 and 7 show how careful I need to be in handling the tablets as corners can be lost and kneeling on another cracked it into two pieces.  Although from an error perhaps some new thinking on display can be considered.


Figure 6


Figure 7

All images my own using an iPhone.

On Editing, Discernment, Colour and Anti-Romanticism

s A further view on the process of editing my Work in Progress Portfolio, MA Photography; Informing Contexts


figure 1

Here is my study table transformed to an editing table; it seems suitable as it is translucent white glass.  The books and papers are cleared and each of my 20 plus images are set out mostly at A6 size, printed and cut out.  A substantial amount of shuffling has taken place and a decision has been made to reduce down to 16.

I have enjoyed and found the comparisons made by pairing but have decided in making a judgement that where images are paired they are either split and shown separately or in the majority of cases I have discerned which is the stronger image and discarded the weaker.  I may, in due course, create a photobook layout but have made the decision to await the outcome of my Module Two assessment at the end of the Informing Contexts period at Falmouth University before doing that.

The most significant move I have made, in consultation with course tutors is to move from four geographic subsets and create instead a single series under the title Empty.  I have dissolved the ‘walls’ in my mind and actually literally and chosen to interweave the images and created a series which works from numerous methods, firstly there is a tonal deepening in the narrative now from light to darker and thus a revealing of darker meaning as progress is made, this is reinforced with a familiar opening image of a building envelope then the final image is looking into a building.  The perspectives vary deliberately; some views are ‘flat’ and shallow, others create an extended deoth and invite the eye into and beyond; a critical aspect of working with architecture and space.  Interspersing  these views is a device to keep the viewer engaged and modulate the flow.

I believe my ‘sunlight on the moulded student chair’ is one of the strongest images in my series and was a leading candidate for the opening piece.  It was left in that position overnight but was subsequently displaced by the current image which sets the scene and, like the chair, invites more than a glance; it suggests something is perhaps not normal, something strong but faded; thus allowing the stream of images in the series to suggest a walk through the spaces within and beyond to other banal, abandoned and unloved objects, walls and hollow spaces.

What has come as a surprise is the use of colour.  The late 1960’s and 1970’s were typified by warmer colours, characterised by teak veneers, brown tints to glass, orange cushions; like a bowl of autumn fruits.  These colours, often faded, sometimes just hinted, tend to flow through this series.  I have written before about my internal debate about mono and colour work and my desire to keep working in both, often giving myself no choice but to work with mono in my film cameras.  I often carry both analogue and film cameras with me on a shoot and in the case of the Conservatoire, shot over two days, I used analogue on the second day to reengage with the images and spaces I had already become familiar with.

One image, figure2, was discarded even though it represented a space that was once perhaps a bar and dance hall, the curtains and rail dropped to the floor and the simple light affixed to the wall, forlorn in a huge wall, but the colours simple jarred for me and I took the image out of the series.

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figure 2

My visual memory is stacked with images I was exposed to when younger and indeed captured myself, of overgrown, cobweb strewn spaces which appeared to create an echo of the Victorian obsession with the romanticism of neglected spaces; ruins and ferns, the softening of decay with rain, sunlight and wind eroding and encouraging an organic invasion. Notably, just 9 years before the birth of photography the architect Sir John Soames commissioned the artist J M Gandy to depict the Bank of England (1830) in a state of decay and ruin. (accessed 16th April 2017). See figure 3.

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figure 3

Such major statements by national figures must, we can perhaps assume, pervade the Victorian sensibility to use newly discovered cameras and photography to publicise even further the gardens and paintings that summed up such obsessions. 

My practice deliberately sets out to avoid the romanticisation of the abandoned space; instead I aim to make images of the banal, the everyday, where a single hand, in the case of a desktop glue pen, or many where a brass handrail offers support to everyone.  Once caressed, but no longer cared for or needed. 

The other judgement I made was to loose the two images of which I realise I had a fondness for, but simply did not fit in the series, due to the colour and the fact that they appear to be, to a degree, ‘pretty’ .  These were made during a dawn visit to St Thomas More church in Sheldon, Birmingham, a building under threat ( (accessed 16th April 2017) and thus an appropriate candidate for my series.  The stark concrete frame houses a huge range of both abstract and representational stained glass, which cast an extraordinary light onto the stone floor and window reveals.  Whilst they were a key part of the story of the church and its design and purpose, these two did not make the edit.


Inverting Todd Hido; My Personal Journey

In considering both practice and editing for my Work in Progress Portfolio, Informing Contexts, I sought out a way of dealing with a rule and an exception

I have been struck by the need to analyse and therefore explain my decision to not only photograph ‘people-free’ but in particular to make an editing decision to show the trace of humanity.  But with an exception.

The creative process is about intent but also about revelation.  So, having sought out a theme for my work on the MA course which commenced as an overarching title ‘re-seeing’ it initially developed into a piece on public art and its crafted quality (the hand of the maker was manifestly what I was inclined to show) but moved on into the hand of the architect and maker in creating buildings in the mid-twentieth century that had been deemed to be at the end of their useful life.  I know all too well that to develop a building from an idea to a fully fledged investment and commitment to complete is an Herculean effort.  So to see these at the end of life is an undeniably emotional downer.

Yet there is another emotion at play.  This begins to open out a personal, reflective space. 2016 was quite a moments year for me, I made the decision that corporate leadership was not such fertile territory and I needed to define a period that I call, at least to myself, a break.  I was drained and tired.  Spliced into this was dealing with the loneliness of being the eponymous singleton.  The title and status had for years synchronised.  How to deal with these two things?  Well a break meant downing the management tools, but nothingness was not the answer to the loneliness.  So I embarked on the journey to learn, to provoke myself, to move my critical faculties away from architecture and apply then to a new realm.  That newness is about photography, about making, undertaking, theorising and critiquing.  At the end of the second module of my MA course I feel armed in all of these new faculties.  Sure, there is more to explore, more learning to do, but there is tangible discovery and there is definition.  But, as I tap away on Easter Sunday, alone with just my dog who is gently wagging his tail on the sofa in his canine dream world, I am having a realisation;

I like to be around people, just a few, never a crowd.  I love talking, I like to laugh, I listen too.  The socialisation of my MA crew has been key to my own emotional stability, yet yet yet; so many many of my counterparts are dealing with the images of relationships in one form or another, whether intimate or socially at scale.  I am not.  I perambulate around spaces, looking for light, shadow, doorways, windows, texture, marks, scrapes, patterns, dust, detritus, looming and lurking.  It is just me.  Indeed, perhaps I wear black to reduce personal impact and visibility.  Like Jeff Wall’s octopus in a corner. 

I ask myself the question, is it easier not photographing people?  To a degree it is, there is no relationship to develop, nurture and convey with a ‘subject’.  But actually, it is just different; I am developing my eye for the space, place and moment of light, of a feel for how a detail conveys a whole; for human touch and trace.  This is deepening and becoming more regular, this photographer’s eye is not a generalist it is becoming a specialist.




I was joined by a mason when making images of the redundant and vacant masonic hall in Birmingham.  He was able to really help me understand the use and meaning of all the spaces and demystify some of the secrecy and processional procedures.  So, I decided to photograph him in the very inner ‘temple’ space.  The space was actually less precious and distinctive than I expected, fitting the banal I was seeing throughout the complex, so I made an exception to my rule, I asked him to move through the space as I exposed on the tripod.  He was happy to be photographed, but I wanted to suggest in the image my view that people in this faceless, windowless building should be similarly asked to preserve some blurred anonymity; he, as the subject was happy with this.  After a few attempts, this is the photograph, figure 1.  I pondered its inclusion into my series Empty.  It did not make it into the penultimate edit.  If I were to make a photobook of the masonic experience it would probably be included, but in the Empty series it seemed distracting and adding little to the hollow content I was wishing to capture.

So, why, after this inner debate and clarity, is there a man in the last image in my final edit of Empty?  See figure 2. Well, here are my reasons.  The man in question is absolutely central to the image and all to the purpose of St Thomas More’s church.  I had spent the whole morning there since just after dawn when the church doors open.  Mass started two hours later and I vacated the building for the duration.  That moment struck.  There was the priest administrating, standing under the ‘chimney’ at the crescendo of the structure which shafted light down onto the alter area, viewed through a glass door, itself the inner door of the lobby to the outer solid doors, themselves beyond the concrete structure.  The layering of space and image that I really seek out, was all there.  This building was the only one in constant and persistent use, despite its threatened status.  It has been the exception to prove my rule.  It also served as a finale image where I look in; a counterpoint to the opening image which is about looking out, here is a sneaky look in.

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figure 2

The Practice of Others

The interview with the photographer Todd Hido in Ahorn magazine in the archive (accessed on 16th April 2017) is revealing and appropriate here. 

He is known for capturing American landscapes and the human imposition. he shoots at dusk, with film, using found light to capture the stillness, the place but also the light emitting from interiors, the sign, the index of occupation, of life; implied not visible.  It is a suburban ordinariness at small scale.  Yet there is one house where no light comes from within, as the interviewer asks “The image “Untitled #2312-a, 1999” from the series Houses at Night is one of the few images without a visible illumination coming from the house. A beam of light cuts the front of the house but no light comes from the inside. In every house you have photographed the human presence is implied. The quality of the light is also the quality of their presence. Thanks to this perception, you are able to establish a relationship between the viewer and the image, as a personal relationship. Could you explain something more about this particular choice? How important is it for your work to show inhabited houses with human beings’ presence instead of empty houses?” See figure 3.

Hido responds, “You are very perceptive.  Yes, that is the only house at night that does not have a light on the window.  I chose that particular one because it was actually a place that a lot of my ideas about home and loss and longing came to fruition. What I found was really remarkable to me as it was a neighborhood that had simply been walked away from my many of its inhabitants.”  He continues very usefully to explain his feeling and practice “Yes, it’s true that most of my photographs of homes at night have a light on in the window. That is a very important part to me as it implies that someone is in there. I have often said; “The lights come on and the inside seeps to the outside.””

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figure 3

What fascinated me on reading Hido further is that he often manages to find his way into homes and here is his observation in response to this question “You frequently have photographed interiors. How did you find the places, do some of them have a special meaning for you?”

Hido responds “Yes, I love to photograph interiors. They often add another layer of narrative to a sequence of photographs.  And I really like what that does—it sort of brings the viewer inside of the home”.  See figure 4.

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figure 4


My practice is a sort of inverse of Hido.  He finds light as a source of life; I find emptiness as a source of life dissipated.  His edited exception is a lifeless house captured via its setting and architecture; my edited exception is one of life at the core of a purposeful architecture.  Hence the inverse.

Yes Hido’s emotional stance, his feelings for loss and longing are very much the centre of practice.  He finds human trace, so do I.  There is a commonality alongside the inverse.

Edited Out

Informing Contexts, MA Falmouth University.

Visual narrative that did not meet the edit for my work in progress portfolio.  Here is why:

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figure 1

My work in progress portfolio has, through a newly learnt and quite vigorous editing process, made me realise that issues, ideas and stories merge and are discerned on the layout table.  I have begun to be ruthless and remove images that are in fact rather good in my own eyes, but, on canvassing the views of others, I was able to arm myself with ‘reassessment eyes’ and see that actually the colour range I had captured in the 4 buildings thus far accessed as part of the Empty series were in fact within a restricted palette; muted and often specifically of their time, the 1960’s and 70’s.  The story evoked by the images were of human activity, of hands touching of mundane activity in banal spaces where only the humour, warmth and interaction of people added the necessary dignity that sustains  and creates the commune.

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figure 2

Thus in the case of a building captured in December 2016, where dead flies, abandoned suitcases and food littered the view, the demolition visit in January 2016 (figures 1 and 2) was all about arc lights, a churning and disembowelling of a place.  It tended to reflect the work of Peter Mitchell ( accessed on 13th April 2017). 

This is a different story; not quite another mini-series but nevertheless included here for completeness of the account of a building that once designed, made and occupied for commerce, now abandoned and festooned with gloom is razed from the city landscape in all its twenty storey stature of muscular edifice.  These images, despite being part of the narrative of demise, were distinctly not suitable for final inclusion in the series Empty.