Laura O'Keeffe

30/04/2021

In response to the theme of Story, I chose to explore ambiguous/ interactive storytelling for my project.

I explored this concept through Fine Art, with a focus on Photography, Film and Video.

I decided to investigate this subject by attempting to challenge the conventional ways in which ambiguous/ interactive storytelling are visualised. To do this, I focused on creating analogue/ physical work which enables physical interaction between viewers and my work, as interactive storytelling is most commonly associated with video games and digital media.

I created an ambiguous sequence of photographs, which enables viewers to create their own narratives and interpretations of the sequence (I feel that this visual sequence explores the current times in which we are living, and the ways in which the COVID-19 pandemic has affected people’s relationship with, and connection to, other people and the world outside of our homes).

In my photographic sequence, I focused on the symbolism of doors, the inclusion of an ambiguous character and the use of techniques and processes such as a door letter box camera obscura that I created, photographing images through a kaleidoscope, a door letter box and a kitchen roll/ paper towel tube, etc., along with creating black and white photographs.

“Door”- Photobook Video

02/05/2021

This is a video that I created which demonstrates the ways in which my accordion photobook and the case/ box for my photobook function, along with the ways in which viewers can interact with this piece. I created this video using my Nikon D3300 DSLR camera, a tripod, LED light source, a portable home studio set-up and Adobe Premiere Pro.

To create this video, I asked a number of my family members, fellow students and tutors to create their own sequences and narratives using the sequence of photographs that I created for this photobook. Due to the current circumstances of working from home, I collected some of these responses via an online platform (with the exception of my family members, who could physically interact with this piece, and who feature in this video). I have included a number of these responses in the above video.

“Door”- Photobook Case/ Box (Part 2)

02/05/2021

Above, I have included images of my completed photobook case/ box. Overall, I am happy with this case/ box, particularly due to the current circumstances of working from home and working with the limited range of materials which I currently have access to.

“Door”- Photobook Case/ Box: Process (Part 1)

02/05/2021

I decided to create a case/ box for my interactive accordion photobook. Above, I have included images of the process of creating this case/ box, including images from my Ideas Development Book which contain a full explanation of my choices for the design of this case/ box.

At first, I attempted to create this case/ box using black card, as this was the material which I used to create my accordion photobook. However, this material was too thick to cover the case/ box, and prevented it from closing. Therefore, I decided to use black paper to create this case/ box instead, and only used black card when I was creating the hinge.

To create this case/ box, I used:

A Box

Black Paper

Aluminium/ Kitchen Foil

Black Thread

A Sewing Needle

Scissors

Pritt Stick Glue

Black Card

Ideas Development Book

30/04/2021

Research Book

30/04/2021

“Door”- Photobook (Part 2)

30/04/2021

Above, I have included images of my completed “Door” accordion photobook. Overall, I enjoyed making this photobook and I am very happy with this piece, particularly as this was my first attempt at creating my own handmade photobook.

“Door”- Photobook: Process (Part 1)

30/04/2021

As I have explained in my previous posts, I decided to create an accordion photobook using the ambiguous sequence of photographs which I created, in order to enable physical interaction between viewers and my work (see my previous posts for a full explanation). 

Above, I have included images of the process of making my accordion photobook. To create this photobook, I used:

A2 Black Card

Pritt Stick Glue

Scissors

A Craft Knife

A Ruler

“Door”- Sequence of Photographs: Final Selection (Part 5)

29/04/2021

Above, I have included the photographs which I have chosen to include in my final selection for my “Door” sequence of photographs. I chose these photographs, as I felt that they were the most relevant to my “Door” sequence and offered the widest range of possible narratives which viewers can create by combining these images.

Once I had selected these photographs, I edited the images using Adobe Photoshop, by adjusting the brightness, contrast etc. of the photographs. 

I also chose to use Photoshop to convert these photographs to black and white, as I feel that this further enhances the sense of mystery in the photographs (along with the inclusion of an ambiguous character), as it may not be immediately clear to viewers that these photographs were created during the current time period (as the black and white appearance of the images could be reminiscent of/ reference the work of lens based artists from past time periods), thus creating further ambiguity in this piece. I think that this is intriguing, as, despite the fact that I personally approached this photographic sequence with the intention of creating a narrative about the current times in which we are living, I also like the fact that this further enables viewers to create their own personal narrative for this sequence, and even decide the time period in which they would like this piece to take place. I feel that converting these photographs to black and white also further enhances the ambiguity of the photographs, as the removal of colours could make it difficult to recognise the location in which the photographs were created as being a specific location.

“Door”- Sequence of Photographs: Process (Part 4)

27/04/2021

Above, I have included another unedited photograph, which I created for my “Door” sequence of photographs. I photographed this image using my Nikon D3300 DSLR camera.

In this photograph, I attempted to investigate the possibility of creating a motion blur effect through the use of the door letter box camera obscura that I made during my previous project. In this image, I had originally intended to depict an ambiguous figure who is moving frantically in front of the door, to appear as though they are trying to look in through the door via the door viewer/ peephole and then through the letter box (viewed from the perspective of a person inside a house looking out at this ambiguous figure through the door letter box). This did not result in creating the image that I had intended to create, as the camera obscura did not depict the gestures of the figure in a manner which was clear enough for the viewer to recognise the movements of the figure.

“Door”- Sequence of Photographs: Process (Part 3)

27/04/2021

Above, I have included a further selection of unedited photographs, which I created for my “Door” sequence of photographs. As I have stated in my previous post, I will not be including all of these photographs in my final selection for my photographic sequence. These images are simply a part of my process of making my visual sequence.

To create these photographs, I used:

My Nikon D3300 DSLR Camera

Natural Light

Door Letter Box Camera Obscura (A3 Paper, a Magnifying Sheet and Masking Tape)

A Kitchen Roll/ Paper Towel Tube

A Kaleidoscope

“Door”- Sequence of Photographs: Process (Part 2)

27/04/2021

Above, I have included a number of unedited photographs, which I created for my “Door” sequence of photographs. I will not be including all of these photographs in my final selection for my photographic sequence. These images are simply a part of my process of making my visual sequence.

I used my Nikon D3300 DSLR camera and a tripod to create these photographs. I chose to use natural light for these photographs, as I wanted the images to reflect the familiar everyday setting of the home, rather than appearing to be staged/ unnatural. However, to create the close-up image of the door lock, I also combined natural light with an LED light source (the torch on my phone), as the image was too dark without this additional light source.

“Door”- Sequence of Photographs: Ideas (Part 1)

26/04/2021

As I have explained in my previous post, I have decided to create a sequence of photographs which will explore the current times in which we are living, and which I will use to create a photobook. I chose “Door” as the title of this photographic sequence and photobook, as this emphasises the symbolism of doors in this piece (see my previous post for a full explanation of this).

24/04/2021

I would like to explore ambiguous/ interactive storytelling by attempting to challenge the conventional ways in which ambiguous/ interactive storytelling are visualised. As interactive storytelling is most commonly associated with video games and digital media, I have decided to create analogue/ physical work for my Story project. I feel that this could enable physical interaction between viewers and my work, which could enhance the experience of, and engagement with, the work for viewers.

I have decided to create a sequence of photographs which will explore the current times in which we are living, and the ways in which the COVID-19 pandemic has affected people’s relationship with, view of and connection to other people and the world outside of our homes. To do this, I would like to focus on the symbolism and various possible meanings of doors, as doors could symbolise either positive or negative meanings for each individual viewer; a door could represent a portal or a means of accessing, and therefore connecting with, other people and the outside world, or it may be viewed as a means of protecting ourselves from the threat of COVID-19 in current times, however, a door may, alternatively, represent an obstacle/ barrier which isolates us and prevents us from connecting with others and the world, or the sense of anxiety that COVID-19 has created for many people in relation to contact with others.

I would also like to include an ambiguous character in this visual sequence, who would not be recognisable as a specific individual, and who would add a sense of mystery to the piece, as their identity would not be known to the viewer.

I will incorporate the use of the door letter box camera obscura, which I created during my previous project, into this photographic sequence, as I feel that this will reflect the symbolism of the door, due to the fact that this camera obscura literally involves using a door in its process, and even acts as a door in some ways, as it transports an image of the outside world into an indoor setting. I also think that the unclear/ blurry effect which the camera obscura creates visually reflects the idea of ambiguous storytelling.

23/04/2021

Image of “Fractured Figure Sections” (1967) by Robert Heinecken, gelatin silver prints on wood blocks.

Image Source: https://www.moma.org/audio/playlist/177/2345

Robert Heinecken was an innovative American artist who used alternative photographic processes and media to create his works.

“Fractured Figure Sections” is a work which Heinecken created in 1967. This piece consists of photographs which depict a female figure, and which were divided into multiple sections and printed onto wood blocks. This enables viewers to physically interact with this artwork by turning the wood blocks, to mix the sections of the photographs and create visually intriguing combinations.

I feel that the continuous and infinite nature of the viewer interaction that Heinecken created in this work, through an alternative choice of medium, is fascinating, and this piece reminds me of mix and match storybooks. I think that I would like to try to incorporate this idea into my own work by creating a photobook which would allow viewers to physically remove photographs from the book and rearrange the order in which the sequence of photographs is presented, thus altering the meaning and narrative of the piece. I feel that this would offer a wider range of choices for viewers, and therefore, could enhance the interactivity and experience of the piece for viewers, thus allowing viewers to adapt the photobook to reflect their own personal life experiences.

Image of “Le Voyeur/ Robbe-Grillet #2″ (1972) by Robert Heinecken, three canvas panels with bleached photographic emulsion and pastel.

Image Source: https://www.moma.org/slideshows/26/458

“Le Voyeur/ Robbe-Grillet #2″ is a work which Heinecken created in 1972. This work consists of three panels which depict sections of the bodies of female figures from a number of different perspectives. These photographs, which Heinecken treated with a variety of materials and processes (including bleaching, staining, scraping and drawing onto the images), appear to be layered over each other. In this way, the artist creates an abstract and ambiguous appearance for this artwork, as it is not immediately clear that this work depicts human bodies. I think that this suggestion of multiple perspectives reflects the subjective nature of ambiguous/ interactive storytelling and the freedom of choice that they offer to viewers. I also feel that I could consider using techniques such as motion blur to create a similar sense of ambiguity in my own sequence of photographs for my photobook.

Source: https://www.moma.org/audio/playlist/177/2345

22/04/2021

Image of “Tomorrow is Sunday” (2020) by Miriam O’Connor, photobook cover.

Image Source: https://miriamoconnor.com/tomorrow-is-sunday/

A selection of photographs from “Tomorrow is Sunday” (2020) by Miriam O’Connor, photobook.

Source of Images: https://miriamoconnor.com/tomorrow-is-sunday/

Today, I attended an online talk by the artist Miriam O’Connor, which was hosted by the Gallery of Photography Ireland. During this talk, Miriam O’Connor discussed her photobook “Tomorrow is Sunday”, which she created in 2020 and which explores the artist’s life following the death of her brother. This book also explores O’Connor’s return to her rural family farm following the loss of her brother, along with the role that photography plays in her life.

During this talk, O’Connor was also joined by Niall McCormack, who designed this photobook with her. They explained the importance of the relationship between images and text in this photobook, and highlighted the ways in which design can assist in communicating the message of a work, such as through careful consideration of materials, layout and fonts, etc.

I feel that this talk was particularly relevant in the context of my Story project, as I am currently exploring the possibility of creating my own interactive photobook. I was particularly fascinated by the way in which this talk highlighted the effectiveness of simplicity in design, such as creating a simple cover design for a photobook which does not feature a photograph. I think that I could consider this when creating my own photobook, as I feel that this would place the emphasis on the photobook itself, rather than distracting viewers with the cover of the photobook.

Video Source: https://vimeo.com/166584028

Image of “Chronograph #1″ (2015-2016) by Meghann Riepenhoff, cyanotype accordion book.

Image Source: http://meghannriepenhoff.com/project/chronographs/

Research: Meghann Riepenhoff

22/04/2021

Above, I have included a link to a video in which the artist Meghann Riepenhoff discusses her work, including her “Chronographs”. I have also included an image of her cyanotype accordion book “Chronograph #1″.

Meghann Riepenhoff is an American artist who is known for incorporating natural elements, such as water, wind and landscapes, etc., into the process of creating her artworks. Her work often focuses on impermanence and viewer experience.

In the context of my Story project, I am most fascinated by Riepenhoff’s “Chronographs”, which are a series of books which she creates as a part of her exhibitions. The books consist of unexposed cyanotype pages which continuously change visually over time as a result of human interaction with the books, due to the fact that, as the exhibitor turns to different pages of the book, each page is exposed to a different amount of light. As a result of the infinite and constant visual transformation of these books, these works do not focus on achieving a definitive finished artwork. In this way, these books emphasise the concept of impermanence.

From researching Riepenhoff’s “Chronographs”, I feel that I would like to explore the possibility of creating a photobook for my project- especially an accordion book- as I feel that a photobook would offer the opportunity to create an immersive experience of physical interaction between viewers and a piece, through which the viewer can physically alter the appearance, and the meaning, of the piece continuously. I also think that creating a photobook would be particularly relevant to my Story project, as it reflects the idea of a storybook.