MA Documentary Photography · DEAD EYE · 2020

ffotograffiaeth ddogfennaeth ma prifysgol de cymru ma documentary photography university of south wales 2020

DEAD EYE: The Realist Paradox

The ‘Dead Eye’ of the motorised machine proliferates through society, pulling harder on reality and rendering all in its path objectified, mostly voiceless but certainly abstracted. According to Stephen Koch (1985), Andy Warhol’s movie camera “sees without blinking, its staring, dead eye [creates an] alienated vision with a mechanistic impersonality.”

By using the camera in this way, Warhol’s films subvert, create an alternate reality, an alternate consciousness. It’s a transformational tool working both to document and to construct metaphor and create a “certain modern condition, one in which the presence of the self, for itself and for others, is forever in question, in danger.”

Enter this year’s MA in documentary Photography cohort from The University of South Wales. A small but perfectly formed group of tenacious students who have had to work harder, push further and dig deeper than most years, as ‘lockdown’ rendered the process of creation heavy, like running against a tide of unending waves of insurmountable hurdles. (A ‘deadeye’ incidentally is also an integral component in creating a mechanical advantage in lanyards on sail ships.)

Our students have used their cameras wisely and with purpose.

Works are diverse: encompassing explorations of identity, contained within a diasporic environment; visualising hegemony, materiality and the marble industry using Generative Adversarial Network technology; the search for answers whilst seeking solace, healing and salvation in a remote community; explorations of silence amidst the trees; the legacy of violence within the familial setting and an intimate study of the cycle of friendship, conflict, humour and humanity. There is of course a paradox in thinking about such works in relation to our understanding of the ‘Dead Eye’ but here lies the essence of what we on the Documentary Photography MA stand for, a questioning, a paradox.

As André Bazin (1973) suggests, “The word ‘realism’ as it is commonly used does not have an absolute and clear meaning… Given the fact that this movement toward the real can take a thousand different routes, the apologia for ‘realism’ per se, strictly speaking, means nothing at all.

The movement is valuable only insofar as it brings increased meaning (itself an abstraction) to what is created.”

Lisa Barnard programme leader ma documentary photography 2020

CHLOE DAVIES HAN HUANG LUKE RICHARDS NIK ROCHE PEDRO FREITAS SILVA ANNA ZIKO

CHLOE DAVIES if you kiss him, you won’t dream about him

if you kiss him, you won’t dream about him my mother turned to me and said, “if you kiss him, you won’t dream about him.” well, i couldn’t stand him. he was laying there, in his coffin, stone-cold. i had never felt or seen a dead body before.

By addressing the legacy of violence within the familial setting, If you kiss him, you won’t dream about him disrupts the cycle of insobriety, trauma, self-contempt and negative tendencies which have roamed around my grandmother and mothers’ memoirs for many years. The work is a visual response to the indiscernibility of anecdotes within their past lives, an alternative reference that investigates intergenerational conversations. Truth and multiple perspectives interplay significantly on the narrative outcome. With no photographic evidence of these events, the images dramatise and alter the state of truth and history within the family archive.

Using film-still like visual representations of the recollected stories, where performance and duplicity play critical roles in the act of smokescreening reality, I play with these modified anecdotes. By reconstructing and simultaneously appearing in these visual plays, I embody the characters and their mannerisms as a means to look back at the choices they have made and question how much of the psychological, genetic past I have carried forward in my own life.

Chloe Davies

HAN HUANG where are you?

where are you?

a photographic work to illustrate the shaped appearance and repressed desire Recent reporting by China Daily suggests that approximately 280 million people a month use retouching apps to beautify self-portraits. These modified pictures are posted on social media to evidence an idealistic and unrealistic version of the body and face. The numerous virtual identities allude to a perfect lifestyle and exemplify what Susan Sontag suggests that “The photograph is no longer just a souvenir, but an item which confirms that a certain human experience has actualised.�

Where are you? presents blurred boundaries between rational and irrational daily scenes, as an attempt to break the viewer’s perception of the standard system of visual representation of the self. The work expresses a questioning of the concept of identity and freedom, locked in a room, a digital space or a body, or indeed within the confinement of thought patterns. The project documents both personal, constructed images and objects that reflect the complex way identity is represented, especially in light of being a Chinese woman away from the familiarity of home.

Han Huang

LUKE RICHARDS spectres of labour

spectres of labour Most notably used in Michelangelo’s David (c.1504), Carrara marble is revered for its reliability, purity and density. The area from which it is drawn is densely populated by a significant community of sculptors and artists who reside in the valleys below. In 2014, local company, Marmi di Carrara — which owns operating power in a third of the marble quarries working in the Italian region — was majority-bought by the Saudi Binladin Group, one of the world’s largest private construction conglomerates.

This transfer of marble — historically a signifier of wealth and status within the Christian West — to the Gulf state, is symbolic of a wider transition of economic and political power on the world stage, as Saudi Arabia attempts to diversify its oil-reliant economy through luxury accommodation and the cultural sector.

Systematically extracted, sculpted by advanced robotic machinery and distributed internationally through automated export channels, marble appears to no longer be materially experienced or influenced by hand. The works of this series, largely comprised of images created by Generative Adversarial Networks — a form of machine learning — act as epitaphs to the violent carving of the material world by algorithmic determinism.

Luke Richards

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NIK ROCHE it’s hard to report a stolen bike, stolen.

it’s hard to report a stolen bike, stolen.

stop scratching or it’ll never heal. — pulp (1987) the best time to give something up is when you’ve had enough of it.

— tony (2020), three days into an amphetamine binge It’s Hard to Report a Stolen Bike, Stolen. is a further chapter to The Budgie Died Instantly. This work initially emerged from lived experience and childhood memories but then, through a series of chance encounters, became an exploration of friendship, conflict, humour and humanity.

It looks at relationships, acceptance and trust within a closely selfguarded community — an island that sits above the city at the top of a hill, where utopian desires exist in windows decorated with flowers and pride fronting forbidden spaces behind closed doors that hang full of lost innocence and diminishing dreams.

Kept within a cycle of deprivation — not necessarily of wealth, but of information and alternative realities — this is an intimate, visceral portrait of people whose lives are caught in oscillation between incarceration and freedom.

The intimacy of these images offers insight to the conflict of possibility and reality, and the elusive moments of hope that lie in between.

Nostalgic recollections and anecdotes of chaotic incidents interweave with alarming hilarity. A mirror on life’s complexities and the inherent need to survive at all costs in pursuit of belonging and love, this work reveals a community marred by enforced social marginalisation and outrage, where resilience and behavioural patterns remain unbroken against an assault of ill-considered mental-health care, trauma and lack of long-term systematic change.

Mutual trust and understanding are critical to sharing these moments in their lives. Standing on the sidelines is not an option.

Nik Roche

he got me in a headlock said he’d choke me out i hit him with a hammer six holes i left him with i ran half way down the garden then he shot me he’ll do anything for his mother my nephew.

i went for dinner beautiful meal steak by night until it came to paying £20.49 i thought they knew i had no fucking money they called the police can you pay? no sir my councillor he’s a millionaire they drove me to his house electronic gates he paid most of the bill i had the 49p.

dai allen used to be our dealer would sell it in triangle shapes flat like a pizza we had to get it from his misses no one wanted to pick up from her she kept it in her knickers sticky pam.

my brother went to spain he brought back truncheons and a blouse i strutted around townhill proud as fuck my mother stopped the car get in and give that back fuck off it’s mine how can it be yours you stupid cunt it’s got shoulder pads.

see that bloke sitting on the wall by there he’s got one leg i did that hit him with a machete just above his knee daft cunt kept injecting into it so they chopped it off.

our house got raided at the weekend my dad shoved the gear up the horse’s arse.

PEDRO FREITAS SILVA the flyscreen

the flyscreen

then, yes, i have the impression that the world stopped when i looked at that, and i only returned to reality when it left through the flyscreen. in fact, as i looked at the unknown, i experienced a feeling of absolute silence. everything happened so fast, and more than anyone else, i will regret being unable to answer to all the details that elude me. — a. dos s. d.

The Flyscreen is a title borrowed from observations and writings from the 1970s until the 1990s. The archive, which had remained partially hidden from view up to this point, documents a series of events that took place in a mountain range called Gardunha in central-east Portugal.

The notion of a divine protective screen and other mythologies that were displaced through Galileo Galilei’s lens system left humans alone in the age of Modernity, equipped with just their creative intelligence and facing the greatest of the unknowns. Amidst the remains of belief systems, science became a place of creative research for ‘provisional truths’ rendered by ‘sensitive experiences’ and ‘necessary demonstrations.’ A. dos S. D.’s documents and reports are guides to a journey seeking truth on the quietness that encircles Gardunha, a word of Arabic etymology, meaning refuge.

The place, one of the most aged and least densely populated areas in Portugal — and increasingly more so as younger generations continue to move to urban centres — provides an environment for the confrontation of complex symbolic realities. Its unpolluted skies offer a more expansive vision beyond the atmospheric cover that blocks the multicoloured space spectrum and provides a location to seek solace, healing, salvation, and question the unfathomable of the cosmic domain.

Pedro Freitas Silva

Em 4 de Agosto, devido ao intenso calor que à tarde se fazia sentir, desisti da permanência no quintal e refugiei-me no quarto verde, sentando-me na cadeira articulada que está arrumada por detrás dos pés da cama ao fundo do canto direito.

On 4 August, due to the intense heat that was felt in the afternoon, I gave up staying in the backyard. I took refuge in the green room and sat on the folding chair that is kept behind the bed at the bottom of the right-hand corner.

Desde Agosto de 1979 que eu manifestara o propósito de cessar a entrega de cópias dos meus relatórios, não por incompatibilidade com alguém, mas por motivos que eu próprio não os sei explicar, embora tudo isto possa parecer absurdo.

From August 1979 onwards, I had expressed my intention to stop delivering copies of my reports, not due to conflicts with anyone, but rather for reasons that I myself cannot explain, although all of this may seem absurd.

Este meu trabalho não sendo novidade de maior por parte do assunto exposto, ele para mim contém um alto valor significativo pelos acontecimentos que encerra, resultantes de acção directa e imprudente, que me transportou a um ponto inesperado, que francamente não sei como de lá sairei. Agora resta estar sempre na expectativa de um bom desfecho incógnito, como compensação dos longos anos de completa ignorância da verdadeira clareza e finalidade, de um resultado positivo desse meu trabalho, como simples observador de algo desconhecido e por enquanto inexplicável na sua origem e intenções.

This work of mine is not groundbreakingly original when it comes to the subject exposed; nevertheless, for me, it contains a significantly high value for the events it narrates, resulting from direct and reckless actions, which transported me to an unexpected situation, from which, quite frankly I have no idea how I will get out. All that I have left is to be constantly expecting an unknown good outcome, as compensation for the long years of complete ignorance of real clarity and meaning, of a positive result for my work, as a simple observer of something unknown and still inexplicable in its origin and intentions.

A consciência ditava-me que não indagasse este caso na vizinhança para os não alarmar, preferindo que vivam na crença em avisos divinos das zangas de Deus. E não terão eles razão?

My conscience dictated me not to inquire about this case around the neighbourhood, not to alarm them; it would be better for them to carry on believing in divine warnings from God’s wrath. And aren’t they right?

Pelo volume dos acontecimentos estranhos que surgiram de quando em quando e sobretudo, de 1975 a esta parte, deixam-me preocupado quanto à conveniência da sua posterior divulgação, mesmo para com as pessoas que considero amigas e dignas de confiança. Este receio baseia-se na falta de provas reais que deveria apresentar como justificação dessas manifestações insólitas (…)

Due to the volume of strange events that occurred from time to time, mainly, from 1975 onwards, I am concerned about the convenience of their subsequent publication, even to people I consider friends and trustworthy. This fear is based on the lack of real evidence that I should present as a justification for these unusual manifestations (…)

Tentei esquecer esta sensação estranha, desviando o olhar e o pensamento para rumo diferente, mas não resultara e por isso, recolhi ao quarto na esperança que dormindo talvez tivesse mais sorte. Tardei em adormecer e mesmo o que dormira, de certo que fora tão pouco, porque a altas horas da noite, senti-me acordado com a imagem da visão ainda retida na mente acompanhada da estranha sensação de abatimento. Interrogava-me a mim próprio, porque tanto ladraram e uivaram os cães (…)?

I tried to forget this strange feeling, looking away and steering my mind in a different direction, but it didn’t work, and, therefore, I retreated to my room hoping that sleeping would help. It took me a while to fall asleep and, in fact, I probably got very little sleep because, in the late-night hours, I felt awake with the image of the vision still engraved in my mind, followed by the strange feeling of dispiritedness. I asked myself, why were the dogs barking and howling so much (…)?

(…) eu sentia em todo o corpo, um enorme formigueiro, arrepios e forte pressão no peito que me dificultava a respiração como se mãos invisíveis mo apertassem. (…) Across my entire body, I was feeling an enormous tingling, chills, and a strong pressure in my chest that made it difficult for me to breathe as if invisible hands were tightening it.

Na verdade, tudo se processou com a maior das naturalidades, deixando para a posteridade o vazio como se ali no alto da montanha nada se tivesse passado.

In fact, everything took place very naturally, leaving for posterity an emptiness as if nothing had happened at the top of the mountain.

Estes “bailarinos da Lua” foram observados também pelos meus vizinhos mais próximos.

My closest neighbours were also able to observe these “moon dancers”.

Começo a não estranhar esta depressão físico/mental (…)

I’m getting used to this physical/mental depression (…)

(…) os meus amigos terão que me desculpar caso eu não lhes entregue cópias dos meus relatórios confidenciais e muito menos, autorizar fotocopiar os originais ou desenhos apensos a eles. (…) my friends will have to forgive me if I do not give them copies of my confidential reports, let alone authorize them to photocopy the originals or the drawings attached to them.

Na verdade, o fenómeno brinca connosco às escondidas por incapacidade imaginativa (…)

In fact, the phenomenon plays hide and seek with us due to our imaginative inability (…)

(…) à medida que o tempo decorria sem obter qualquer resultado satisfatório, sentiaque esta minha exaustiva procura, caía em desanimadora frustração por isso, eramais sensato recolher a casa. (…) As time went by without any satisfactory results, I felt this exhaustive search of mine falling into a disheartening frustration, for that it was wiser to return home.

Durante as noites de observações não passaram quaisquer aviões.

During the observation nights, no airplanes flew.

Que espirito era o teu, Quando olhavas o céu?

Meu amigo… nada existe, Daquilo que tu viste!

What was your mood, When you looked up at the sky?

My friend… nothing exists, Of what you have seen!

Sinceramente, tudo isto para mim ĂŠ muito estranho e mais do que ninguĂŠm eu lamento profundamente, a incapacidade da minha parte para encontrar a ponta principal de um cordel quebrado em vĂĄrios lados.

Honestly, this is all very strange to me, and more than anyone, I deeply regret my inability to find the main end of a string shattered into a thousand pieces.

(…) chamou pela mãe para que visse a “coisa”, mas ela recusara com receio do que iria ver. (…) he called his mother over to see the ‘thing,’ but she refused, afraid of what she might see.

Lamento profundamente o sobressalto do Sr. Pedro e o alarme que sem justificação causou nos outros e com isto, só prova que o espírito dele ainda não está preparado para acreditar numa realidade existente.

Deveria ter pensado em primeiro lugar, trocar impressões com as pessoas envolvidas na visão que ele, muito justamente deveria dar graças por ter assistido a uma oportunidade deveras excepcional, em vez de levantar de imediato a dúvida que lhe invadiu a mente.

I am deeply sorry for how startled Mr. Pedro was and the alarm that he unjustifiably caused in the others. It only comes to prove that his spirit is not yet prepared to believe in the existing reality. He should have thought, in the first place, of exchanging views with the people involved in the vision that he, quite fairly, should be thankful for having taken part in a very exceptional opportunity, instead of immediately raising the doubts that invaded his mind.

Aí sim, tenho a impressão que o mundo parara quando olhei para aquilo e somente voltei à realidade, logo que ele saíra através da rede mosquiteira.

De facto, quando olhava o desconhecido, dera-me uma sensação de silêncio absoluto. Tudo fora tão rápido e mais do que ninguém, lamentarei o não saber responder a todos os pormenores que me escaparam.

Then, yes, I have the impression that the world stopped when I looked at that, and I only returned to reality when it left through the flyscreen.

In fact, as I looked at the unknown, I experienced a feeling of absolute silence. Everything happened so fast, and more than anyone else, I will regret being unable to answer to all the details that elude me.

Existem imperfeições na contextura dos meus relatórios? Admito-as e sinceramente reconheço a pobreza dos meus recursos intelectuais para melhor compô-los. Pena tenho que assim seja e desgosta-me imenso o não saber transcrever para o papel, tudo aquilo que os meus olhos observaram (…)

Are there imperfections in the contexture of my reports? I own such imperfections and sincerely acknowledge the poverty of my intellectual resources that prevent me from making them better.

Alas, I’m so sorry that it has to be like that, and it is heart-breaking not knowing how to out on paper everything that my eyes have observed (…)

ANNA ZIKO and then there was silence

and then there was silence Pause. Observe. Breathe. Be Still. I am able to do this in our family-owned private woodland in Shropshire. In a time of isolation with family, I revisit the woodland which has experienced recuperation and healing as a result of a labour of love towards nature from my stepfather and myself over the past five years. I, a westerner living with nature just outside my doorstep on a crowded landlocked island of the United Kingdom, have been exposed to the concept of ‘ma’. “The Japanese concept of Ma is something that relates to all aspects of life. It has been described as a pause in time, an interval or emptiness in space.

Ma is the fundamental time and space life needs to grow. If we have no time, if our space is restricted, we cannot grow.” (Canning, 2020).

Renowned poet during the Edo period in Japan, Bashō is known for his minimalistic haiku poems referring to nature which embody the concept of ma. Bashō had a methodology of wandering forests within nature, getting lost in order to write his poetry, the structure of the haiku accentuates a void yet enhances every word, giving appreciation to every part of the writing.

Like Bashō, I go on journey through the woodland with the concept of ma in mind, to sense the space around me and discover stillness within. Sequences are used to embody the concept of ma, creating gaps and pauses in between the photographs. The aim of this work is to compel the viewer to slow down, pause and not to view this body of work in haste. But to feel each component of the images. This is an invitation to slow down and observe.

Anna Ziko

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dead eye

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chloe davies www.chloealexandraphoto.com

www.ifyoukisshimyouwontdreamabouthim.com

han huang https://hanhuang118.wixsite.com/whereareyou luke richards www.lukewrichards.com nik roche www.nikroche.com pedro freitas silva www.pedrof.pt https://theflyscreen.pedrof.pt

anna ziko https://leilakaajasalo.wixsite.com/annaziko •