In my one-to-one tutorial, Michelle suggested I try photographing objects as still-life images in order to experiment with interacting with the objects in the home. She argued that trying still-life with objects that are important to me would bring new things into the narrative. Her suggestion that I should take more risks with my photography has led me to try this.
I have, until now, been working with the objects as they lie, without moving them, in order to capture the home as it truly is. However, by removing the objects from their normal places and photographing them with particular care and attention being paid to lighting, I would be imbuing them with a sense of importance, both within the photograph and within the wider series.
I was influenced in my initial aesthetic choices by the still life work of the Dutch painters of the 17th century. For example:
I initially chose smaller objects as I felt it would be easier to experiment with them, including a succulent, a cactus, a vase, a snow globe, a candle and a small statue. I photographed them in a black studio, with continuous lighting.
I felt a few of the images worked well, but some were basic or even boring.
The problem, I feel, is that I am not entirely sure what I want to achieve with these images. Am I trying to elevate the objects beyond being household knick-knacks? Am I suggesting that they have strong emotional connections for me? Or am I trying to suggest that objects that may seem innocuous and simple are in fact incredibly important and valuable in life? It is also important for me to be aware that this kind of photography can end up becoming a catalogue of objects, rather than an series exploring connection (as the series aims to).
Cotton suggests that photographing objects can conceptually alter them because of the way they are represented. Will I be aiming to alter my subjects conceptually or trying to examine them for what they are? (Cotton 2016, p.110)
I am also not sure that the relevance of the objects I have chosen will come across for the viewers. Will they need to see them contextualised in order to understand their place within the home?
I may continue working on these still-life images, but I feel the series is stronger in its black and white room images that work with light and shadow.
References:
- COTTON, CHARLOTTE. 2016. The photograph as contemporary art. 3rd edn. London: Thames & Hudson.
Images:
- KALF, WILLEM. 1660. Still Life [image]. Available at: https://www.nga.gov/collection/art-object-page.12206.html [accessed 22 July 2018].
- VAN AELST, WILLEM. 1661. Still Life with Dead Game [image]. Available at: https://www.nga.gov/collection/art-object-page.61174.html [accessed 22 July 2018].
- VAN WALSCAPELLE, JACOB. 1675. Still Life with Fruit [image]. Available at: https://www.nga.gov/collection/art-object-page.119295.html [accessed 22 July 2018].
Jo Salomon CRJ 
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