"at what stage are we here, in the sense of critism?" jonathan asks tentatively.
"please tell me exactly what you think. i don't even care. well no, that's a lie. i care about the work, which is exactly why i don't care what you say about it. the more critism, the better." at which jonathan was pleased to hear.
we went around about a million different routes the work could now take. they're nice images at the moment, but don't say a lot. questions:
do the shots of nonna need to be more spontaneous?
is it about the found family photographs?
the gaps in my knowledge of my family's history?
my frustration that i don't feel apart of it?
is it even about nonna?
is it, actually, my relationship to my father and the rest of the family that is of importance?
honestly, i think it's the later. the fascination lies with the lack of female intervention and relationship to environment. i think the work has gone too far down the toledano line of making compassionate images of my grandmother, just because i love her. compositionally, they are strong and to me they mean the world but i think what i'm trying to say is more sociological -as with all the work i make so i don't know why this should be such a discovery! i guess when the subject of your work is something so emotionally charged, sometimes it is difficult to step back an be objective but hey! that's art for you.
the next step is this: individual portraits of my father, my uncles and my nonno. i need to relate them to their very seperate environments and compare them with one another. references are as follows:
alec soth - juxaposing subject with the space. sometimes comically.
also here is a link to toby granville's portraiture work. i can't be bothered to screen print the images so just have a butcher's at you're own leisure.
i'm gonna do some test shots of my dad and my nonno this weekend so i will post the results asap.
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