take clothes for instance BOOK

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take clothes for instance… Notes from the journal by Richard Hall
INTRODUCTION My initial response in having to collaborate on a project was dread and my reflex was to turn around, and walk away. But as I’d committed to the programme this was out of the question. However I then felt trapped as I’d have to see it out to the end, and this exacerbated my anxiety which manifested itself in a physical churning sensation in my stomach and tightness in my chest. The project meant I would be relinquishing a lot of control in allowing many of my collaborations to guide and direct my decision making. These could be people, things, spaces; in effect any resource which I either sought out or which came to me through my study, or indeed by sheer accident. The idea of these things having agency to influence the direction of my journey was on the one hand an exciting prospect with many potential “What if” moments that would take its development to unexpected new places, but on the other hand the thought that these things might dictate an outcome which could very well end in disaster rested uncomfortably with me. Another aspect which unsettled me was that as a returning student and after many years of working outside of an academic institution I had re-entered a realm which I felt unsure of and therefore ill at ease with fellow artists who I felt probably had a better knowledge of contemporary practice, with clearer expectations of the learning landscape than I had. I could very well have been imagining this though as I may have been projecting a scenario which had little foundation in reality. I was therefore determined to work against these feelings. However despite endeavouring to act on this assumption, I still felt out of place and deeply insecure.
Page 1: take clothes for instance… Notes
Page 5 and 6: CONSTRUCTED IDENTITIES I also consi
Page 7 and 8: The idea of peoples’ clothes bein
Page 9 and 10: INITIAL PLAN My initial plan to app
Page 11 and 12: EARLY TEST PHOTOGRAPHS
Page 13 and 14: Reflecting on these initial photogr
Page 15 and 16: TESTING, THOUGHTS, CONCEPTS AND PRO
Page 17 and 18: 1 ST PHOTO-SHOOT IMAGES
Page 19 and 20: The photographic process is one whe
Page 21 and 22: NEGOTIATING THE TEMPORAL AND IMMORT
Page 23 and 24: NEGOTIATING THE TEMPORAL AND IMMORT
Page 25 and 26: I had only a rough clue as to the o
Page 27 and 28: OUTCOMES/ARTEFACTS Due to the fluid
Page 29 and 30: The photo-shoot took place in the s
Page 31 and 32: Coal: Gary Clarke Theatre Company T
Page 33 and 34: I came across the work of fashion p
Page 35 and 36: 2 ND PHOTO-SHOOT IMAGES
Page 37 and 38: POST PRODUCTION Following the Photo
Page 39 and 40: POST PRODUCTION IMAGES
Page 45 and 46: VIDEO I TRANSFORMATIONS I also want
Page 47 and 48: VIDEO STILLS
Page 49 and 50: LOCATION AND DISPLAY Late into the
Page 51 and 52: ...summary reflections
Page 53:
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