Considering the feedback that I have received for the first iteration of my WIPP (Fig: 1), I wanted to create a title for the work that lends a certain ambiguity to the reading. As the work is in part inspired by the Robert Frost Poem, I looked again at how Bryan Schutmaat titled his work ‘Grays the Mountain Sends’ (Fig: 2), which was inspired by the poetry of Richard Hugo. His title is taken from a line in the poem ‘Degrees of Gray in Philipsburg’: “Hatred of the various grays the mountain sends, hatred of the mill, The Silver Bill repeal, the best liked girls who leave each year for Butte” (1992). Hugo’s poem uses the idea of ‘degrees of gray’ to paint a picture of the ebb and flow of human relationships, which relates to Hugo’s own personal experiences prior to writing this poem (Potts, 2012). For Schutmaat, this is a translation into the relationship between the people and the landscape in his photo series.
Figure 1: Phil Hill (November, 2020) Peer Feedback on WIPP V1 blog postFigure 2: Bryan Schutmaat (2014) Cover of ‘Grays the Mountain Sends’
A Desert Place vs Between Stars
Initially, I thought about titling this series ‘A Desert Place’ in a direct reference to the poem however, this could be quite obvious so instead I have considered the metaphor within the poem to see if any connections to my work can be made. A phrase that jumps out at me immediately is “Between stars – on stars where no human race is” (Frost, 1936, p. 44). Frost uses this line as a way of contrasting a vastness of space with the narrators own internal desert, which aims to create a kind of hope of putting one’s own personal challenges into a kind of perspective. According to analysis by Li Wang, this comparison “serves to aggrandise the speaker and the importance of his own personal desert” (2013, p. 2095). I can use the line ‘between stars’ as a way of emphasising the in-between nature of my images, or rurality of them. It also references the idea of connection to place.
More lonely ere
Another line from Frost’s poem is: “And lonely as it is, that loneliness Will be more lonely ere” (1936, p. 44). The word ere is a preposition meaning ‘before in time’ and I quite like the idea of naming the series ‘more lonely ere,’ to create a sense of the connection that I am attempting to explore with the sequence. This again is a way of placing me into the series and also an attempt of putting emphasis on the reader being the protagonist on the journey. As Wang also notes:
“It is an archaic word. As we have known that Frost’s language is so simple and ordinary that the common readers can understand it. But this only archaic word appears here to remind us of focusing on what the adjacent sentences want to emphasize. It emphasizes the intensification of mood. The implied rebirth in the necessary melting of the snow and the re-emergence of the field as a real thing is an unassimilated lump of hope”
(2013, p. 2096)
I believe that this provides the best link between the poem, the metaphor and my images. Ultimately, my journey story is an intensification of mood from ‘the call’ at the start through ‘the journey’ and ‘the ordeals,’ toward a resolution and ‘the goal.’ Within the bleakness of some of the images that I am presenting, my aim is that is some kind of hope still, represented in the end of the sequence, and the goal (Fig: 3). The idea of ‘more lonely ere‘ essentially translates to ‘more lonely before,’ as to suggest that the act of completing the journey provides hope for a better relationship with place.
Figure 3: Phil Hill (November, 2020) Project Development and Narrative
Cover
Figure 4: Robert Frost (1936) ‘A Further Range’ book cover
Figure 5: Phil Hill (November, 2020) Cover design iterations.
I have taken further inspiration from Robert Frost and used the cover from the book ‘A Further Range’ where ‘Desert Places’ is published as inspiration (Fig: 4). Initially, I sought to emulate the cover but found that I need to develop this further and as I evolved the title, I aim to do the same with the cover. The basic referenced elements are there and I have change the colour to a green as a further reference to rurality and also included a three star symbol between the title and my name to visually represent the in-between element of the title (Fig: 5).
Bibliography
Frost, R., 1936. A Further Range. Transcribed eBook ed. s.l.:Proofreaders Canada.
Hugo, R., 1992. Making Certain It Goes On: The Collected Poems of Richard Hugo.. Re-Issue ed. New York: W. W. Norton & Co.
Potts, M., 2012. On Richard Hugo’s, “Degrees of Gray in Philipsburg”. [Online] Available at: https://michaelpotts.livejournal.com/8861.html [Accessed 26 11 2020].
After speaking with Colin, I was pleased that the progress I am making with the edit of my work. Key to its success has to be in the way that I am applying narrative structure. I have tended to ignore its potential previously and unsure of how it could apply to a photographic series. However, I have discovered that it is a really valuable tool in the sequencing of my work, which I have always struggled with. The way that the ‘journey story’ narrative creates a kind of fantasy world also really resonates with the way that others have viewed my work. Michelle in the first module even stated as much in how my work highlights a kind of fantasy element to the subjects that I am photographing. Colin has also previously stated that some of my images have an idealised romanticism to them. What the journey narrative allows is a way of bringing these areas of strength in my work together in a cohesive way. I now realise that the success of my FMP will depend on the way that I eventually sequence using more narrative tropes and tools.
Work to do
Figure 1: Phil Hill (September, 2020) Dad holding Dandelions
I am far from done. There are some images in the present sequence that I am unsure actually work within the narrative. Potential to slim down the current set. For example, the image of my dad holding the dandelions (Fig: 1) is quite disparate to the rest of the sequence and may need to be taken out. I also need to continue looking at the journey and seeing how this can be reflected in the sequence.
I also feel the need to return to earlier research and see how this is reflected in my current work. I started the module looking at the idea of inanimate agency, informed by the idea of Object Orientated ontology. This is how to consider the way that the landscape and places impact on the people, over how we place a bigger value on human interpretation of objects. For example, Graham Harmon notes Edmund Husserl’s discussion of ‘Two Berlins’: “how can there be two Berlins, one of them a content inside the mind and the other and object outside it? In that case, there would be no way for the two Berlins ever to come into contact, and knowledge of Berlin would not be possible” (2020, p. 15). This is what photography does, effectively creating a third ‘Berlin’ – or in my case, Watford – bearing no relation to the concrete actualities that were in front of the camera at the time of the photograph. I spent a great deal of time researching this as an impact that the photograph has on the way that we remember and how the qualities of the medium of photography have an effect on the way it is read contributing to a nostalgia. Narrative structures feel like a natural progression for my work to further the construction of my own making. This has been one of the most revelatory progressions made during this module and as above, a key element to take forward into my FMP.
Figure 2: Phil Hill (November, 2020) WIPP test viewed in Adobe Acrobat Reader
Figure 3: Phil Hill (November, 2020) WIPP test viewed in Google Chrome browser
Presentation At the moment the first iteration of my WIPP was created as a PDF in a series of 4, 10 page spreads. I have found there are limitations to this and need to work towards a better display of the work. InDesign limits the amount of pages in a spread and also the presentation varies depending on the way it is viewed through a program, such as Acrobat versus viewing the PDF in a browser (Fig: 2 & 3). I am aiming for the work to be seen in a linear way, so it might be better to display the work using my website where I can better control the experience. That being said, there is also a need to acknowledge the need to some flexibility and relinquish control to the reader – they will inevitably construct their own narrative.
Bibliography
Harmon, G., 2020. Art and Objects. 1st Paperback ed. Cambridge: Polity Press.
Figure 1: Phil Hill (November, 2020) Editing process – initial stages
After placing all of the work on a wall in my house, I found it quite useful to start creating sequencing and pairings of images that work well together (Fig: 1).
Figure 2: Ed Ruscha (1966) Every Building on Sunset Strip book
As the sequence for submission is going to be in the form of the journey narrative, I am keen to have it viewed in a linear way, so have place the work left to right in what could work as an accordion style fold out book. In a similar way to how Ed Rucha’s ‘Every Building on Sunset Strip’ (Fig: 2). I am going to attempt to experiment with this in print form to see how it might work as a physical publication and consider the ways that I might apply the technique later for my FMP. However, I feel that for the WIPP submission, I will possibly resort to creating this digitally to emphasise the reflection and development of my approach to images making.
Narrative Structure breakdown
Figure 3: Phil Hill (November, 2020) Initial sequence using Journey Story Narrative structure
The images in this initial sequence have been placed into the sections of the Christopher Booker’s journey narrative structure (Fig: 3). I have also aimed to take into consideration the metaphor presented in ‘Desert Places’ (Frost, 1936) and how the town shifts between rural and urban.
The Call
Figure 4: Phil Hill (November, 2020) View through kitchen window.
This begins at home (Fig: 4), Frost’s idea of identity and safety. I have used windows before in my submission for informing contexts. During the height of the first lockdown, there was a sense of everything being ‘radioactive,’ yet the home was a sanctuary away from this. The window creates a boundary in which to view this hostile world whilst remaining somewhat protected. There is a sense of wonder by having a viewpoint through the window, low and toward the sky that means the viewer id still curious and intends to want to investigate it.
Figure 5: Phil Hill (November, 2020) Carbenders Park, Watford.
The tree in the houses (Fig: 5) is a link to the rurality that exists all around. Nature existing within the urban environment and the many overlapping elements. This tree, obviously established is potentially older than the housing estate that surrounds it. Perhaps there were many more like it.
Figure 6: Phil Hill (November, 2020) Fire Station, Watford
A more typical sight of Watford and to contrast the tree is the side of the fire station that flanks on of the older pathways cutting through the town (Fig: 6). It’s brick structure showing a level of built up urban environment that exists here.
Figure 7: Phil Hill (October, 2020) St Thomas Church – Disused
Figure 8: Phil Hill (October, 2020) Ryan
An early pairing for this module is the images of the Church and Ryan (Fig: 7&8). Religion has quite a presence in Watford with many bases for churches here. The symbolism of the boarded up church is an interesting one in terms of the narrative, suggesting that there is a need to seek faith or truth. I paired this image with the portrait of Ryan, owing to his tattoo on his arm of silhouetted figures with outstretched arms, or in the crucified position,[1] which could represent another break of faith. I am not aiming to paint an over picture of religion here however, the symbol comes with preconceived notions of faith, truth, identity that feed into the narrative here.
Figure 9: Phil Hill (September, 2020) Brick wall remains near M25
The bricks and the railing are also from the edgelands and make a good reference to the idea of rurality (Weisheit, et al., 1995). In terms of ‘the call’ there is a sense of a breakaway or move away from the present existence.
The Hero’s Companions
Figure 10: Phil Hill (November, 2020) MarkFigure 11: Phil Hill (October, 2020) Cephas
Here I felt was an opportunity to include some of my portraits. Mark, who is a volunteer at the food bank across the road from my house (Fig: 10), and Cephas who is the caretaker at the school where my wife works (Fig: 11). It is useful to remember that in a journey narrative, the idea of a hero’s companion is to show that the protagonist of the story is not alone in the journey so it is worth acknowledging that within my own community there are people who support it.
The Helpers
Figure 12: Phil Hill (September, 2020) MumFigure 13: Phil Hill (September, 2020) Dad holding Dandelions
Here are two images of my parents (Fig: 12). I have included these as a way of considering the idea of connection. The hand holding the dandelions, or weeds is my dad (Fig: 13). In Frost’s poem, weeds are the ‘primitive thing without trace of man’ (Wang, 2013: 2094) and dandelions are also referenced in edgelands: “earth inheriting dandelions might also make their presence felt” (Farley & Symmonds Roberts, 2011: 140). I quite like the connection made between the weeds considered without trace being held by a person. Within the journey story it becomes a parting gesture before the start of the journey and how to regain the connection between people and place.
The Journey
Figure 14: Phil Hill (September, 2020) Pathway running alongside the M25 motorwayFigure 15: Phil Hill (September, 2020) Whippendale WoodsFigure 16: Phil Hill (October, 2020) Broken Tree Swing, Bushey Country ParkFigure 17: Phil Hill (October, 2020) Den, Bushey Country Park
The body of the narrative I have sequenced is the journey itself. Starting with a pathway that leads into the journey (Fig: 14), I have included a sequence of the more rural part of the town which is the main part of my own exploration. Referring to Frost’s metaphor of the woods being the people and the society I sequenced my images to show an upturned tree showing its roots, symbolising disruption (Fig: 15). A broken tree swing (Fig: 16), showing more of a trace of people, and a built den within the woods (Fig: 17), which is another trace and also referenced within ‘edgelands,’ (2011: 41). There is a sense of the shelter and potential to re-build in the sense of finding identity and connection to the place.
Figure 18: Phil Hill (October, 2020) Alistair
I also placed a portrait of Alistair, the fly fisherman holding a Rainbow Trout (Fig: 18). Alistair, come to fish to escape the everyday stresses of life and the fishing can also denote a perseverance to continue on the journey. This image I paired with the tree and the house, which is in the same location providing some context and also linking back to the idea of rurality of nature and urban elements. The image if the trolley on the pathway, which is another reference to a journey.
Figure 19: Phil Hill (November, 2020) Izzy, Callowland Allotment.
I also included another portrait at the end of Izzy in an allotment (Fig: 19), which is another reference to ‘edgelands’ that suggests that allotments are more of a political tool over a beloved pastime of self-sufficiency, noting: “Allotments have been used as a sop to the dispossessed for centuries. The General Enclosure Act OF 1845 took 615,000 acres from the poor and gave them 2,200 acres of allotments in return, just because we love and value allotments should not stop us from seeing that they also represent paternalistic tokenism” (2011: 108).
What I aimed to show with the journey is much more of the pastoral elements suggested by descriptions of Hertfordshire that tend to overlook Watford (Else, et al., 2003: 250). There is a great deal of rural beauty however there are still problematic elements to consider, such as the subtle political tension in the perception of a benign allotment, for example. Or in how a community so tied to the identity of commuting how been uprooted (represented by the tree and the people and society metaphor present in Frost’s ‘Desert Places’) and trying to rebuild (the den). With the fisherman and the person within the allotment there is another opportunity to show the connection to the land and people and this represents a kind of discovery within the journey.
Arrival and Frustration
Figure 20: Phil Hill (November, 2020) North Watford Playing Field
After the journey comes some obstacles to overcome, which was my aim to show here. In ‘Desert Places’ Frost writes: “In a Field, I looked into going past” (1936) and Li Wang suggests the field represents nature, therefore in my sequence it is a way of acknowledging a return to the more urban parts of the town (Fig: 20).
Figure 21: Phil Hill (November, 2020) Obscured BillboardFigure 22: Phil Hill (October, 2020) Damaged car.
The frustration then, might be a return to the existing environment of Watford, which is built up and overlooked, supported by my selection of the covered billboard (Fig: 21). The crashed car is a way of creating a visual stop, much like what happened to the car itself (Fig: 22). Frustration is evident in the damage done to the car. I also wonder what happened to force the car to stop so suddenly and whatever crashed into the back of it to keep going. The momentum of the narrative has halted in order to confront the next stage of the narrative.
Final Ordeals
Figure 23: Phil Hill (November, 2020) TomFigure 24: Phil Hill (October, 2020) Bag of Shredded paper.
Firmly back in the built up areas this section is about confronting those elements. The portrait of Tom (Fig: 23) in mirrors the portrait of Ryan (Fig: 8) to show a return to near the beginning. The bag if shredded paper suggests an unburdening or casting out of items not needed any longer (Fig: 24). There is also an idea of confusion associated with a bag of shredded documents and a curiosity of what they might have been.
Figure 25: Phil Hill (October, 2020) Buddleia bush blocking a pathwayFigure 26: Phil Hill (October, 2020) Roadside memorial.
The image of the Buddleia is blocking a pathway (Fig: 25) yet in edgelands its resilience is associated with hope in the sense that even in a wasteland (2011: 137), they are able to propagate. Phil Barker notes “The experience of being human is intangible. As a result, descriptions of human experience rely heavily on metaphor to convey something of that whole lived experience” (2000: 97) and I have also placed an image of a roadside memorial, which on the surface denotes a death in that location but also death can be considered as a new beginning.
The Goal
Figure 27: Phil Hill (November, 2020) Jess and Darcie
Back to nature. The portrait here is of my wife and daughter (Fig: 27) so there is a sense of personal connection this image. The goal of the series is to find a connection to place therefore the journey narrative is designed to move through all of the ups and downs felt by living in a place that I initially felt no connection but am since starting to make my peace with it.
[1] Which is incidentally from the cover of a Muse album created by Storm Thorgesson who utilises symbolism for many of his most successful covers.
Bibliography
Barker, P., 2000. Working with the metaphor of life and Death. Med Ethics: Medical Humanities, 26(2), pp. 97-102.
Else, D. et al., 2003. Lonely Planet: Britain. 5 ed. Footscray: Lonely Planet Publications.
Farley, P. & Symmonds Roberts, M., 2011. Edgelands – Journeys into England’s true Wilderness. London: Vintage.
Frost, R., 1936. A Further Range. Transcribed eBook ed. s.l.:Proofreaders Canada.
Wang, L., 2013. An Artistic Analysis on Robert Frost’s Desert Places. Theory and Practice in Language Studies, 3(11), pp. 2092-2097.
Weisheit, D. R. A., Wells, D. L. E. & Falcone, D. D. N., 1995. Crime and Policing in Rural and Small Town America: An overview of the issues, s.l.: National Institute of Justice.
Now that I have placed all of my images on the wall, I have started to look at how they fit into the metaphors of Robert Frost’s ‘Desert Places’ (1936). I quite enjoy the connections forming between the idea of edgelands and a kind of freedom in the detritus that exists there and the way that Frost paints a picture of someone needing to come to terms with themselves and the land.
There are a number of images that fit well into Desert Places metaphor: The open spaces, the weeds & overgrown plants (primitive without trace of people), Stubble in the field (the traces of people), home (Safety and one’s own identity), and the woods (people and society), which fit quite well with the images that I have been producing (Wang, 2013, p. 2094). The poem as a whole has proved to be really beneficial in the way that I select my images for the WIPP. This of course is an ongoing process and once I start to form a more solid narrative I will look at the images that I have identified and see if there are any refinements to make.
Structuring the narrative
With the initial images identified, I am aiming to continue working with the idea of the journey story. Initially, I have been looking at the hero’s journey however, I am thinking that it would be beneficial not to place to rigid of a structure by sticking to each of the 12 steps outlined by Joseph Cambell. I will use a version of this to start thinking about where the images might be placed in a linear way – or perhaps even considering it part of a loop, as the hero’s journey suggests.
Christopher Booker suggests a structure to the journey story (2004), much like the hero’s journey:
The call (to action)
The hero’s companions
The journey
The helpers
Arrival and frustration
Final ordeals
The goal
My intention is to apply the above to the sequence of my images. I will also aim to highlight the metaphor found in Robert Frost’s poem along the way and reference to idea of rurality and edgelands in the way that the countryside and urban elements ebb and flow throughout the work.
Constructed narrative – contrived?
Although I have started to apply the journey structure to the work, there are no real traditional plot elements so to speak. My narrative is to be subtle and will loosely follow this structure, which is contrived and constructed. This is a further departure from the way that I have always thought of photography and is developing into a much stronger approach to the sequence. And this has been valuable, as previously I had based this primarily on aesthetic choices, which is quite subjective.
My aim is that my next WIPP will have a more refined narrative that connects the people and the places through the metaphor and idea that I have been exploring. It will of course still be subjective and ultimately, I still have little control on the reading of the work – if any. This will provide a good starting point as I move into the FMP to test whether I have been able to communicate my ideas more effectively than my last submission, and identify how to apply this to my final project work.
Bibliogrpahy
Booker, C., 2004. The Seven Basic Plots. London: Bloomsbury Continuum.
Frost, R., 1936. A Further Range. Transcribed eBook ed. s.l.:Proofreaders Canada.
Wang, L., 2013. An Artistic Analysis on Robert Frost’s Desert Places. Theory and Practice in Language Studies, 3(11), pp. 2092-2097.
