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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  

Joel-­‐Peter Whitkin  

‘’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  

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.  

Development Â

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.  

Outcomes Â

Andy Lock  

Valen-nes House  

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  

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.  

Developm ent

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.    

Niki Feijen  

Jean Judd  

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.    

Anna Nowicki  

Emma Parker  

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.  



Final Outcomes  

Outcomes Â

Final Outcomes  

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.    

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