The Provocative Landscape (BA3b)

 Update 5: 23.02.17
Update 6: 15.04.17
Update 7: 15.05.17
Update 8: 19.05.17

A Clarity of Vision

“The Provocative Landscape” is a body of work which is a culmination of research and development from my works from Year Two informing my Year Three works, as well as my essay research. Like many photographers who are constantly pushing boundaries, this body of work originally sets out to explore beyond the conventional landscape genre through consistent research and experimentation which would later influence me to develop my own approach to photography, thus further expanding my horizon in the landscape photography.

As I have organised my posts into various categories, the other challenge I faced was how to present my contents and developmental process in both my Reflective Journal and Visual Logbook different from BA3a. I have considered presenting these images by greying out the texts that have been assessed before. However, that approach would have been too long and messy. I have decided that perhaps the best approach for me (at least how I would feel comfortable presenting) was two-fold: to put my posts into categorical tags on the left side, and separate my BA3b into three components.

Component 1: The Provocative Landscape
A page update of my photographic series and research development

Component 2: BA3b Reflective Journal 
My influences, my references and reflections on my photography trips, self-promotional promotional plans.

Component 3:  BA3b Visual Logbook 
My developmental processes, analysis evaluation of my photographic practices.

Many of my past reference analysis have continued to inspire and influence my photographic practices for BA3b. The base of my references in Bibliography of the photographers I have analysed and amassed over the two years stems out from looking at other photographers that have produced landscape imagery with provocative visuals or statements, including artists who have embraced technology and used multimedia platforms.

The ultimate objective, at the end of the day, is to have a portfolio that shows the diversity of my photographic practices in landscape photography, so as to cater to the industry market in my region which have distinctively different mentalities from the UK. I want to be both a commercial and fine art photographer. By injecting my style of photography, not only am I am aiming to be good at my own forte but also equally versatile in other genres and forms of multimedia.

About My Approach

My approach for BA3b is to execute the plans I have set out for myself previously in BA3a. My Iceland trip was rescheduled to a later date and even though we only need to focus on producing exceptional photographs, I needed an equal amount of time to set up m self-promotional plans. Hence, my schedule was planned in such a way that I was out on the field during the school term with substantial research done, then full concentration on post processing before the Easter holidays and self-promotional plans during the Easter break.

Next Objective

Projected Planning Schedule

– Complete Berlin photography trip, and finish post processing before my next big trip.
– Execute my Iceland photography trip, finish my post processing before the deadline.
– Research more on prints and self-promotional plans and ready for exhibition
– to have a series of professionally curated images as my portfolio
– to have my professional website ready for exhibition.
– consider print materials for exhibition

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To view my Ba3a Learning Agreement, click here.
To view my BA3b Learning Agreement, click here

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Photo Series 1: Pandora’s Box

“Pandora’s Box” explores the disruption of visual in the landscape with the use of a mirror cube. By placing a constructed mirror cube into various locations, evoking one’s curiosity about the relation of the mysterious box as to the landscape. The reflections on the mirror cube reveal visuals of the surrounding landscape that are part of the land but not included in the frame, thus creates a distortion of space as the sense of scale is lost between the cube and its surrounding environment.

To view part 1 of my developmental process, click here.
To view part 2 of my developmental process, click here.

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Photo Series 2: Allemannsretten

Allemannsretten is a Norwegian concept from the ancient times which means “the freedom to roam” in English. This series of works evolved from “Places”, which explores landscapes through the tourist’s eyes. The first observation is my impression of the experience while roaming through those new locations for my first time. The second observation is of other visitors embedded into these landscapes. This was a project that started two years ago and across many unique locations around the world.

London | Scotland | Barcelona | Dubai | Singapore | Berlin | Iceland

To view Part 1 of my developmental process, click here.
To view Part 2 my developmental process, click here.

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Photo Series 3: Utopian/ Dystopian world

This project attempts to imagine the Utopian and Dystopian landscape world through cross-disciplinary collaboration with various artists.

To view my developmental process, click here.

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Photo Concept: The Oriental Portraiture

To replicate landscape elements into portraiture shoot, I decided to revisit my portraiture works in the Visual coherent assignment I did during year two. This idea stems out because I did not want to focus solely on commercial landscapes alone; I also wanted to be equally versatile in as a commercial (fashion) photography with my photographic style in the landscape, of vibrant colours and structural elements. Thus, using the same concept of an Asian model, I wanted to build upon my previous portraiture.  I felt there was room to improve upon, where I could somehow inject some landscape elements into the portraiture. This time, I plan to use another oriental dress which I did not use previously and with an autumn theme concept.

To view my developmental process, click here.

Final Conclusion

In my BA2 works, I explored colours and structural elements in my body of works and “A kaleidoscope of colours” was the result. As I developed my focus into landscape photography later on in BA3, it developed into “The Provocative Landscape” and much of my research had revolved around it.

In my essay, “The Provocative Landscape”, I have proposed that there could be three approaches to reading provocative landscape images: The controversial Image, The Dialectical Image and The Rhetorical Image. These approaches have been helpful in identifying what landscape images can be considered provocative, though sometimes images do not fall into a single category. Thus, I have decided to use many landscape photographers’ works to further elaborate on my point.

I  not only look at landscape photographers, but also at art installations, films and listen to music, and to an extent, the photography works I have done have been a response to those influences over the two years of my course work. It is not a matter of straightforward references but rather a subconscious accumulation of experiences which finds its way into the pictures.

As artists and photographers have engaged with a wide variety of techniques and continuously sought to evolve their photographic practices through time, I have found that for some landscape photographers, it is not the technique that makes an image provocative, but the interaction between the image (how it was created) and the audience (what kind of emotion does it evoke) that makes the image provocative. Provocative landscapes could also be from a religious point of view, as though a sign from the heavens, since the chances of encountering such phenomenon are very rare. How these research has informed my photography works was through my two series, “Allenmanstretten” and “Pandora’s Box”.

To read the full version of my final conclusion, click here.
For an update of my skills audit, click here.

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