Growth & Evolu-on Sophie Karin Clark Unit 4 Exam
Inspira-onal ar-sts Andy Lock Greg Sand
Chris-an Boltanski faces
Doug and Mike Starn
‘’These photographs were taken 40 years earlier, and I could not even remember the moments they were shot, nor what preceded or followed those moments.’’ Embroidering is primarily a feminine ac-vity. In the past, the embroiderer was seen as a paragon of virtue. Wai-ng was -ed to this ac-vity: women embroidered, hoping for the return of the man to the home. Embroidery is in-mately linked to the milieu in which I grew up. Girls in a "good family" used to learn how to sew and embroider — essen-al ac-vi-es for "perfect women". My mother embroidered her trousseau.
Ar-st analysis-‐Carolie Benitah
Chris-an Boltanski shows the shocking reality of the past. His work portrays the faces of Jewish schoolchildren taken in Vienna in 1931, serve as a forceful reminder of the mass murder of Jews by the Nazis. Boltanskis work that followed, such as Reserve Boltanski ﬁlled whole rooms and corridors with items of worn clothing as a way of promp-ng an involuntary associa-on with the clothing depots at concentra-on camps. The faces of children are faces of innocence, colliding with the sinister past that once happened. Even though this tainted past is known, it has never been so graphic. The use of children reinforces how vulnerable these children were and how there was no one to ﬁght their corner, only the unknown. The use on contrast of black and white is a harsh emphasis on the purity mee-ng the sinister. Boltanski’s work ‘reserve’, shows a variety of colours of neatly piled up clothes, without the photographs of the children in the shadows of the work, they are just pieces of fabric. However, pu`ng the faces of innocent children in the background the clothes become dainty pieces of fabric and the echo's of fragile minds.
Chris-an Boltanski Faces and Reserve
Greg Sand produces eerie work that hides the iden-ty of human beings, if the face is not shown how can we trust a face? Their body language and their emo-ons concealed from the naked eye. The dull colours used show the emo-ons of the photography, showing something more sinister is in the mist. The transparency they present are almost as if they are ghostly ﬁgures, visi-ng back to their pasts.
‘Helga’, is the name that belongs to a women who I have never met but we share the same blood. All the way in another country her lifestyle is unknown to me and her language. The only images I have of her was taken in the late 1940’s and are all that remains of her. Technically she is an aunt to me but I only see her as this girl with pig tails and socks. I never had the chance to met my granddad and hear the story's of his previous life in another country. Life changed completely when world war two was announced.
This photo was taken in 1945 in England during the war. The only familiar face to me is my granddad, whom I never met but have heard a great deal about. The wri-ng laying behind the image portrays a leder wriden to ‘Karl-‐Heinz Dohrn during the second world war, the subject of it is unknown.
Even though I have their blood running through my veins I don’t know what their voice sounds like or what they look like now. The words underneath is from a German children's book, without images I can not translate what the words mean. The image here is of my grandmother, who I met and know what personality she had but the life she lived at a young age remains something I may never ﬁnd out, just as I may never ﬁnd out ‘ Helgas’, height. Their existence only is known to me through photos or stories I have been told. Their faces tell me only of their emo-ons at one moment of -me. The book pages that lay underneath are the only thing of my granddad who tells me a lidle part about him.
Outcomes A stranger is someone whose face is not recognisable to your eyes. Without hearing the voice of a person or seeing their body language, their face becomes invisible. The wri-ng behind the image presents a leder to my granddad who was the father of Helga, which is the closes connec-on I have to her. The leder is wriden in German language, making it unreadable to me. Even though I have this photo of her, -me has passed and she would not be this girl with plaits in her hair.
Flaford Mill drawings done ten years ago.
Flaford Mill is a place I have been visi-ng myself since a young age, without knowing my granddad lived very close by and regularly visited. These links I have to my blood have been lost by -me. When I was young it was the place I did my ﬁrst s-ll life drawings. Flaford mill is a historic places that has had many footsteps walk along the paths that lead there.
doug and mike starn
Doug and Mike Starn’s work portrays how fragile life is by presen-ng buderﬂies who have a short life and showing the damaged paper. The rough edges symbolise how life gradually cracks and chips.
Joel-‐Peter Whitkin creates very shocking work, even using real human parts within his work. The most shocking part about his work isn’t that he uses real human parts but the fact the features on the surface of the skin are shown in detail, not just the internal organs. By showing these facial features, it emphasises the fact he presents dead human parts. The lifeless skin that has wilted and the eyes that will not open. He shows the body parts as though they was part of a s-ll life, ademp-ng the disguise the sinister with something as innocent as a bunch of grapes. However, items such as a clock symbolise how -me doesn’t stand s-ll, everything slowly runs out and leaving it useless.
Buderﬂies live very short lives and their beauty is only upon us for a limited amount of -me. Just like this a buildings history is weakened by -me and age, becoming more fragile.
Growth and evolu-on can be deﬁned in many diﬀerent varie-es, however turning the deﬁni-on on its head is to reverse -me, back to the basics. I researched back to the history of my family and places that link to me. For the ﬁrst set of photos I founds some photos taken in Germany, about my granddads ﬁrst life he had before the seconds world war. He had a daughter before my mother, whom he never had contact with aier the war. Due to this we have never spoke to her or know anything apart from the photos taken of her. Even though I though she is my mothers half sister we do not have any kind of rela-on with her. The only things we have from my granddads past life is, some photos of him and his previous family and also a German book given to my mother at a young age with children's poems. Just like the German language, it is unknown just like his young life. With the photos of his daughter and himself I took out the parts that suggest any kind of body language or emo-on. This takes out any links the audience has by the emo-ons in the face. I used pages of a German book that’s is 60 years old and leders sent to my granddad during the war. For the second set of photos I visited a place called Flaford Mill built in 1733, I had visited there as a young girl for many years and found out that my granddad had lived nearby and visited regularly. When I was about 8 or 9 years old I visited there on a school trip and sketched some of the buildings without knowing I had family links. For the development I collected some old books I found in charity shops abut ﬁshing. Flaford Mill is also a place known for its ﬁshing. The English wi`ng within the book pages suggest a scene of knowing and discovering.
Set three photographs I visited a small oasis in the middle of Ilford town, Valen-nes House. Valen-nes House is a place of nature and history as it was built in 1696. At the same age my mother visited the park that surrounds the house and lived nearby. The minuscule link that joins me to Valen-ne House tells me more about my family history. I used dead buderﬂies and ﬂower pressed petals and leave within my development. They represent how -me can pause in the middle of the present -me. These buderﬂies could be either a month since they had died or years, buderﬂies are fragile and smooth when they are alive but aier their death turn crusty. The ﬂower pressed petals show also how -me can be paused, however turns very delicate.
Feijen searches for places that are lost gems, lost to -me. The haun-ng last echoes lei inside the corridors of a building that has not been used for its purpose and now lei abandoned. Nature has buried these buildings alive, only leaving natural light to show the dust that has sedle amongst this graveyard of unknown memories. The contrast of the natural light and the unknown darkness in the shadows is just like a living being who has been lei without hope but even so con-nues living.
The decaying rust rippling through the corset adds a sense of aging and how -me has moved on. Corsets were used on women to make their ﬁgures into the perfect body, even if that meant harming the women. The corsets would be -ghtened so much aier -me it would change the women's organs such as lungs so it would be hard for her to breath. The corset was a prison for an innocent female.
Work produced in the exam
In 1936 St. Georges hospital was built but it was not un-l 1938 that it was opened as an old peoples home. During the second world war it housed airmen from RAF Hornchurch.
Overall, I believe that my project did what I intended which was to show the life of an abandoned building and the ghosts that walk them. The hospital had many people walking along the ﬂoors through out the years and now suddenly there is only the silent whisper of the past, like hand painted wall that children painted which would now be adults or the glasses buried in the dirt lei for the earth, which would have been worn by a women. These memories are fading rapidly and only a glimpse can been seen now through the key holes. If I had to do anything to change my project it would be to try and ﬁnd out more about the lost memories made that are lei inside the hospital made by sick pa-ence.