BLUE DAYS, RAINY SKIES, PASTEL, AZURE, GENTIAN, STEEL, SAPPHIRE, ULTRAMARINE, VIOLET, OCEAN, CAPRI, LIGHT, GREY, NIGHT, MIDNIGHT, EGYPTIAN, ELECTRIC, CORNFLOWER, CERULEAN, BABY, DENIM, INDIGO, ROYAL, PRUSSIAN, POWDER, COBALT, BRANDEIS, NAVY, YALE, TURQUOISE, DUSTY, MAYA, SKY, PERSIAN, HAN PURPLE, COLUMBIA, ALICE, ZAFFRE, IRIS, TEAL, BONDI, BLUE-GREY, OXFORD, PERIWINKLE, DUKE, PHTHALO, TRUE, AIR, SEA, JEWEL, GLACIER, AQUA, AERO, MIST, BEAU, BALL, BLIZZARD, CRAYOLA, BLUEBERRY, BLUEBONNET, CADET, CAROLINA, CEIL, CELESTE, CELESTIAL, CYAN, IMPERIAL, KLEIN, LAVENDER, LIBERTY, MAJORELLE, LITTLE BOY BLUE, PALATINATE, PANSY, PEARL, QUEEN, SMALT, SLATE, BRIGHTON BLUE, STAEDTLER BLUE, ADIDAS BLUE, BLUE TAC BLUE, IKEA BAG BLUE, WILD BLUE YONDER. 

END OF YEAR E X H I B I T I O N P I E C E

SHAPE, SYMBOLISM, COLOUR, FORM, CONTENT, CONTEXT.

4 IMAGES, 4 SHAPES. 

I wanted to show some of my photography in my end of term exhibition, it seemed to make sense, however I did not want to just pin them up to the wall like I had done in my show and text, I wanted the images to stand out and be imposing. So I mounted them on MDF of various thicknesses and attached them to the wall at various depths. This was to defy any chance of them being too unison; each shape had shapes within them and was of different sizes and attached to the wall at different heights. 

The importance of each shape-they shapes became like 'key holes', windows into another persons world, not too far removed but distant enough to create something that is relatable but unknown.  

the CIRCLE - the circle of life, unity, beginning and ending at the same point, mother earth, mother, maker, so I felt it was appropriate for my mother, a viewpoint onto her sleeping in a vulnerable state. mother maker, not as strong as she once was.

the TRIANGLE - three points, three lines, cock and balls,  circle circle line = triangle? 

the HEXAGON - matriarchal grandmother, points like a crown, head of the family, leader of the pack, white haired watcher, too old and deaf to understand, yet she sits

I wanted it like this to create the illusion that it is more of an installation rather than photos on a wall. Having them on two walls also enforced the viewer to interact with the piece more as they had to walk around it instead of just standing there.

P H O T O T I M E P A R T T W O

 A L A S D A I R

 H E L E N

C H R I S

CAROLINE

S H O W & T E X T

 SHOW& TELL .SHOW & LISTEN. SHOW & TEXT. SHOW& TELL. SHOW & LISTEN. SHOW & TEXT. SHOW& TELL . SHOW & LISTEN. SHOW & TEXT. SHOW& TELL. SHOW & LISTEN. SHOW & TEXT. SHOW& TELL. SHOW & LISTEN. SHOW & TEXT. SHOW& TELL. SHOW & LISTEN. SHOW & TEXT. SHOW& TELL. SHOW & LISTEN. SHOW & TEXT. SHOW& TELL. SHOW & LISTEN. SHOW & TEXT.SHOW& TELL. SHOW & LISTEN. SHOW & TEXT. SHOW& TELL. SHOW & LISTEN. SHOW & TEXT.SHOW& TELL. SHOW & LISTEN. SHOW & TEXT. SHOW& TELL. SHOW & LISTEN. SHOW & TEXT.

  Slightly less soul destroying than a SHOW & LISTEN, a SHOW & TEXT allows the artist to interrupt half way through the observations from their peers with an artists’ statement, which has the effect of either confirming their ideas about your concepts or completely alters the way they view your work. Either way, it is beneficial for the seeing as you get lots of exciting feedback, and everything’s based upon feedback. Still, they are not fun, sitting in an airless room all day long while people criticise and comment on your work, while you try desperately not to take offense reminding yourself that this criticism is CONSTRUCTIVE, ugh. 

But this was what I showed:

 Fifteen 21x 30 inch photos

‘Even though they don’t stand out, you stood out every time’