This is a project-based course exploring the concepts and techniques of contemporary photographic practice. Through lectures, discussions, demonstrations and photographic projects, students will explore relationships between photographic form, concept and content. It is recommended that students taking this course supply their own DSLR camera, as a variety of digital imaging applications and techniques will be explored.
In this new series I have cut and dissembled these previous images of memory and used them to create new images. I then took photographs of these new images or collages playing with Laura Letinsky’s idea that “A photograph, is a photograph, is a photograph”. I am interested in both the neat and disorderly functions of the brain. I am questioning the methods we use to remember.
This bears no relation to your previously conceived notions
I use my camera to engage in the shape, form, or sometimes color of these objects. In this series, I am exploring the absence of meaning by separating an element from its context, and (possibly) avoiding a narrative. But why? Because the idea of reduction, in my opinion, can let you see something more truly, almost as if in a distilled state -- instead of through the object's context and meaning (what you perceive an object to be/mean/provide/do). I sought to extort significance of said items so that a true self-reference to each might become more present, or less so I guess, depending on how you look, and place meaning on objects.
Poetics of Light in Space
For this body of work, I have chosen to focus on the poetics of light, rather than the poetics of space. This collection of photographs is meant to show the power of light, and to draw conclusions from the viewer about the ‘better’ or more interesting types of lighting depending on the hour of the day. For example, does the photograph provoke a warm, peaceful feeling, or a sinister mood? Is it a bland, cookie-cutter photo, or is it interesting in some way? Does composition have to make up a good quality photograph, is the subject required to be interesting, or can lighting itself make an image successful?
Away from Home
I moved in with my cousins before the quarantine started and these photos show some of our most valuable items that we brought with us from home to Canada. Some of these items we got as gifts, and others are from our childhood. Since we don’t know how long it will take for us to be able to go home again, all we have are these objects to hold on to for now.
Collapsing The Country Home
“Collapsing The Country Home” at its surface is a series of images displaying some features of rural life, contorted, stretched & torn into singularities of wood, metal, grass, feces, flesh & plastic. The compositions are punctuated by flags and regalia of international military alliances (the WesternUnion, Supreme Allied Command Europe & N.A.T.O).
The work aims to reckon with living rurally in the age of international Neoliberal hegemony. Not even the countryside is an escape from the confusion, the constant churning and incorporation of everything in on itself. This work provides no answers.
These pieces of work is that the feelings of me about the Spring in Halifax. So I started to think about what Halifax’s spring looks like. In fact, what I have seen is that there is not much environmental change except sunlight. And also in this situation, so I considered and compare the spring here to melancholy.
REALITY HAS BEEN A QUITE ALTERED WITH EVERYTHING GOING ON RECENTLY. OUR RELATIONSHIP WITH THE IDEA OF TIME HAS, AS WELL. THERE'S A PATCHY, ROUGH, DULL, HEAVY ATMOSPHERE IN THE AIR. STRONG DIFFERENCE IN CONTRAST BETWEEN OBJECTS AND PEOPLE PRESENTED INCLUDING THE FEAR OF UNKNOWN IN THE DISTANCE.