take clothes for instance BOOK

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There were many things I could say about plotting a project by relinquishing control to collaborations as this had major ramifications on the directions I would take. Textual research as well as conversations with mentors and friends pointed me in the direction of routes which I pursued, though I often felt swamped by the numerous pathways where academic writing could take me. Published works focussing on clothes and the meanings they imbued I realised had so much breadth and depth that I did not have enough time to research as fully as I would have wished. The project which emerged from these explorations I felt was therefore too big for the time constraints to allow. However the materials I was working with, my subjects which included me, the camera which was ultimately taken out of my control, and the agency of the clothes which due to their bad fit placed inherent constraints on the subjects, pushed and pulled the project to the place where it ended up. Importantly however the insistent state of unease which I’d experienced at the beginning of the process was ultimately the overriding element which became the thing that I sublimated into my theme. Despite my other reflections on the fragility of identity as mediated through clothes and the lens of the camera, important though these were, I kept coming back to this much deeper vein of meaning. This instinctive feeling which persisted correlated closely to ill-fitting clothes and the idea cited by Shinkle that “The perception of images involves seeing and reading, but also, importantly, it involves feeling,” seemed to summarise those sentiments which I’d attempted to express in my work. In hindsight I would have like to have exploited these qualities more than I feel I was able on this project. I do however think that some of this feeling is conveyed through my depictions and I hope that this opens up the dialogue for a larger discussion on the meanings of clothes.
take clothes for instance… All material created by Richard Hall © 2017 Richard Hall. All rights reserved.
Page 1 and 2: take clothes for instance… Notes
Page 3 and 4: INTRODUCTION My initial response in
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: ...summary reflections

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