University: The Arts University Bournemouth
Statement: Doesn't Go Into Heart is a photobook about the miscommunication of concepts in the contemporary arts. The photographs in the publication are from an archival practice, the images range from everyday snapshots to meticulously staged homages. The selected images and are series of relatable and ambiguous signs and symbols that form a narrative of the reader's design.
What university did you attend and when did you graduate? I graduated from the photography course at The Arts University Bournemouth. This course is academically heavy with focuses on conceptual development and research projects. Whilst we're taught the traditional photographic processes and presentation (from print to frame), we are kept up to date on contemporary photographic practice - the arising markets and concepts.
What is your favourite photobook by another photographer? I was first introduced to Johan Rosenmunthe's Tectonic in exhibition form at the Foam: Talent exhibition (Paris, Nov 2015). I was most interested in how the body of work was presented on a wall - its unique arrangement. Self Publish Be Happy went on to publish this body of work; their technical mastery of the photobook as a medium shows through the varying paper stocks, close attention to detail and impeccable spot-uv work. This publication truly manifests the gallery experience of this body of work.
Direction: I hope to continue my already grounded artist practice - habitually photographing and archiving perpetually produced, often personal images. My career as a publisher has begun as a platform through which I produce books. The purpose of this is to facilitate projects by local friends and artists. In the future I hope that our platform - the button press - would go on to aid more artist projects and bring together the local creative economy.
Considerations: The majority of the practical production took place at Hato Press. Along the way I had advice from publishers from Morel books and Loose Joints which helped make decisions that I wouldn't have considered otherwise. In the end I chose to use an environmentally sustainable printing process (risograph) who's aesthetics suited my snapshot photography. Whilst I initially wanted an open spine binding, it wouldn't have been the most economical decision. Perfect binding was a more efficient choice for consolidating the book a making it accessible to an audience.
Interior: The photographs in the book are from my archival practice. I selected visually and contextually relatable images that had a broad range of interpretations such as computers with wires, visible camera flash and opposing colours (red and green in particular). The sequencing of the photographs was designed to be read as democratically as possible with only the audience's preconceived thoughts and opinion effecting the images. The opening text is an excerpt from a conversation between Bjarne Bare and Charlotte Cotton (Objectiv #10, Post-Photography) encompassing the overall intention of the book - to draw attention to information failure or miscommunication in contemporary arts.
Inspiration: The group of photographers that have influenced me the most would be the Japanese post-war photographers, Shomei Tomatsu and Miyako Ishiuchi in particular because of the way they photographed and chose to present their work. More recently Ed Templeton (Teenage Smokers), Motoyuki Daifu (Still Life), Thomas Albdorf (General View) Jan McCullough (Home Instruction Manual) and Marton Perlaki (Elemer) have been the artist's books that have taken my attention. My projects often revolve around the critical discourse of an idea or concept. Often these conversations are initiated Youtubers such as Mike Rugnetta and CGP Grey. Currently, I'm taking inspiration for new book sequences through the cadence and aural development of music, Grandmaster Flash and Frankie Goes to Hollywood in particular.
Advice and Future Goals: Read Self Publish, Be Happy. Producing a short-run book can be difficult and expensive. Luckily there are increasingly new platforms that accommodate printing photographs in today's market. Finding the most appropriate way to present your body of work is essential; why make a hardcover, litho printed book when the same photographs look better on the copy paper from the photocopier in your local off licence? Don't be deterred by ISBN numbers and high end book design. If you can create it yourself, do it! I think that when comes to artist's books, too many cooks can spoil the broth. If you want to work on a project with a publisher, great! But it's important to know that self-publishing is always an option.