The study of domestic space lends a set of images concerning what is seen and what is hidden. This idea in a genuine sense introduced the theme of space between in the fall quarter of Picturing Domestic Space. This project on the space between is greatly inspired by the ability of photography to reveal and represent what lies in between what we see and what we do not. This kind of exploration is grounded in the concepts of personal meaning and polarity. Black and white photographs create polarity through their tones that are not always recognized in the limited ways in which we “see” the world. Colors light and dark speak of hiding and exposure, truth and secrecy. Just because something is not seen does not mean it does not exist yet the contrast in images makes it almost seem so. Anything in the “black” of a photograph is being concealed, hidden, while all that is in the light of a photograph shot in black and white is depicted, fully: revealed. What is shown and what is concealed creates dimension in the world that we live in. Yet, it does not define every aspect of it. The best things in life are not so easily categorized into “black and white”; two poles create the framework for everything we define in between.
In the book Envisioning Information (Tufte, 1990) a concept of 1+1=3 or more (61) is introduced and a visual diagram by Josef Albers displays a method of introducing negative space to two dimensional shapes in such a way that the human eye redraws and creates a whole shape with that blank area. Black and white photographs facilitate experimentation with creating negative space within and around the images on the printing paper to see what effect the blank areas will have on the eye and perceptions of the whole image. This project will conceptualize the image content and synthesize it with intended shapes and negative spaces in a series of photographic works that will be shot, processed and developed in the darkroom. New kinds of film, processing and photographic techniques will enhance the project outcomes. Other methods for this project include studying, sketching, and photographing contrast and polarity seen in nature and in everyday life, with the aim to focus on form to recreate and alter seen shapes. Tufte writes, “Visual activation of negative areas of white space in these exhibits illustrates the endlessly contextual and interactive nature of visual elements” (61). This intriguing concept inspires deep enthusiasm to produce something relevant and meaningful, concentrating and exploring facets of polarity related directly to space.
Envisioning Information by Edward R. Tufte, 1990
Which Aesthetics Do You Mean? Ten Definitions by Leonard Koren, 2010
A Natural History of the Senses by Diane Ackerman, 1990
Each of these books deals with concepts relevant to the study of aesthetics, spatial dynamics, sensation, and perception. The five senses will play very influential roles in the project work.
My time log for the hours I work on my project will be on a weekly grid that I will draw out for myself and fill in on a daily basis. The categories for time division will include: conceptualization, observation, photographing, reading, WordPress management, photoland time, and a category for “other” which I will fill with any other relevant information or time spent each week.
This projects final outcome will be a group of photographic works displayed together in a well thought out configuration, or series of shapes, that conveys the chronological process of the project, written accompaniment and a display dynamic that aims to escape two dimensions. A bit of room with the display of this study will be allotted for any other elements or aspects of the project, and the concept of the studies of space between, Colleague’s critiques of the project progress will offer evaluative insights and a WordPress site will offer written documentation in the form of Space Between journal entries.