*part of this post is cut and pasted from elsewhere on this blog to provide easy access to contextualisation*
Contextualisation is proving difficult. I keep leaning towards to photographers who have worked with windows, despite this work having no windows in its final version. I think it’s the net curtain that provides a strong suggestion of looking into a private space through a window. Sharon’s Boothroyd’s work “The Glass between Us” provides portraits taken at dusk, of strangers in their homes, taken through unobscured windows with their consent (Cotton, 2014). A peer, Holly Woodward, commented that my work made her think of Nigel Shafran’s Washing-up series. This is a set of still lifes of his kitchen sink and the adjacent window. His work doesn’t look staged however (Cotton, 2014) but mine was staged. His work is taken inside with the window suggesting the outside, whereas most work that I’ve seen with windows is taken from the outside, looking in. But both are about domesticity, the small glimpses of domestic detail, and I feel as if that chimes with what I’ve tried to show in my work. Other window work that I considered as relevant was Shizuka Yokomizo’s Strangers (also residents photographed through their windows in the dark) and Jennifer Bolande’s Globe, where she photographs globes that she saw on windowsills, from the outside and often from a very long distance away making the globe tiny in the frame in the same way that the earth is tiny in the solar system. I wonder if perhaps I should be looking at still life work, or absented self portraiture, to complete the contextual puzzle where my work will fit.
My tutor feedback provided some interesting perspective on contextualisation:
The section in your texts which covered research reveals that you centered yourself on windows and looked for artists working with this form and related debate in this area. Windows as a form is one route, but others could have been: semiology generally (particularly when your work requires messages to be decoded); self-portraiture from the feminist perspective; decoding and advertising that shares similar territory.
Coming back to this I’m taken by the prescience of Andy’s suggestions of self-portraiture from a feminist view decoding and advertising as these seem to be direct forerunners of my A3 self portraits around my menstrual cycle, and my A4 about the advert featuring and taken by Juergen Teller. I have a sneaking feeling that the I&P assignment on windows and mirrors woud point me towards some more windows references, but I haven’t done that course. A1 eventually led me to A5 and that had a completely different contextualisation.