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FILM AND photographic specialist



ARTIST STATEMENT As an artist, I like to explore documentary photojournalism, orchestrated dramas and photo-cinematic constructs. I approach my photographic profession with a diligent, prolific and poetic ethic. Traditionally I have always centred on narratology and the work I produce will always tell a compelling story. With a profound knowledge of medium dialect in film and photography, I am interested in the technological operations that conceive narrative illusion, creating staged and theatrically lit scenes with meticulous and concise planning. In my imagery, I like to exhibit references to movies and literature which inspire a cer-

contents ebral reading, showcasing diverse inflections of narrative forms. Blending elements of documentary and performance management, like Jeff Wall, and the meticulous technical structuring that Gregory Crewdson employs, my work looks to cross-pollinate photographic and film making methods, fabricating elaborate and thought provoking visions which hover between false documentary realisms and cinematic mystiques. My principles are unbound and innovative, searching for new and exciting ways of exploring processes to orchestrate original apologues.








SHEFFIELD BLACK AND WHITE I was raised in York where the population is tion of my cultural outlook on the steel city 92.8 percent white. When I moved to Shef- and my vision of a shared society. field, I found the cultural and ethnic varieties intriguing. The smell of Persian, Indian and Chinese cuisine which enrich London Road in exquisite perfumes, the curtain shops of Asian tapestry along Abbeydale, the religious veils and the synagogues and the 24 hour tungsten corner shops run by 24 hour Pakistani labourers, in new and refreshing and far from the quaint, monochrome and my somewhat pompous home city. EDL marches and derogatory racial bellows have echoed through Sheffield city and the trade-off claims of Polish man for english wage imprudently pollute the news. Sheffield Black and White is a medita-


CASINO; landscape

chinatown With the series Chinatown, I wished to combine three of my interests; Cinema, Voyeur/ surveillance documentary and night time Landscape photography. The project explores the lives of those who take out occupational, recreational and habitual viabilities in the heart of night. Influenced by Film noir and hard-boiled private investigation novels, the series stylistically offers spectators seedy and cinematic overtones.

theatricality ject prodigious scenes is endlessly met and Toward the beginning of my photographic career, I found myself documenting candid my imagination is unbound, free to explore myth in a photo-cinematic realm. urban street scenes, pulsating with the energy of people, capturing narratives surging through the cells and conduits of everyday metropolitan foundations. The stories were gripping and animated. From the elements of those compositions, I began focussing on stories I had cerebrated myself and focussed my attention on my own theatrical animations. I regard cinema as an exciting and spirited sentiment which has always invited my studious interests into the visual arts. Genre, time in image, tableaux and the social organisation that accost photographic produce, fire-up my desire for producing narrative. In moving to staged practice, my thirst to pro-

BOOK PROJECT Film and literature are platforms of narrative that inform my practice . Focussing upon tales which have been exhibited in both mediums, I wished to transcribe familiar non-fiction and fictions into still images, building a polymorphous bridge between written and cinematic dialogues in a photographic fashion. On the road, Dracula and Do Androids Dream of Electric Sheep?/ Blade Runner, are the filmic and literary subjects of the series. Noting the dramatic compositons and illustrative expressions seen on screen and on book covers, as well as taking thought provoking semantic fields from written extracts, I created soft focussed and dramatically lit posters, creating personal inflections of the works.

cinema ad infinitum Film and Photography. Two dialogues; two means of producing narrative, two modes representing time. Photographic dialogue is often considered a tool which embalms a moment; a still fraction of a past tale. Film, on the other hand, has been speculated as representing movement, an advocation of a present tense. Utilising a self-reflexive style and highlighting the tools and methods of photographic filming, my work stages the staging of film sets. The narrative drama is placed in the

production as opposed to the film’s are communicative of social and culscene. Motion, associated with cin- tural shifts, technology and the correema, is asserted in the cast and crew, sponding nature of artistic platforms. achieved using a slow shutter. Contrasting this, the still, often assimilated with the photograph, is employed in the supposed film the production is focussing upon. The vice versa sense of medium dialect, aims to distort the positioning of narrative time amid medium and subject. Ultimately my work contends that film and photography are social practices and that the two are not representative of time, but instead, they

Joe Golden Portfolio  

A publishing of my photographic work as a Undergraduate student at Sheffield Hallam University

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