I am trying to think about why one image works and another doesn't, when asked on spec I now try to sum it up in a word and I think it is about aesthetics but apparently my artistic language, or how I talk about my work needs to improve. It is either too practical, personal or literal, or too concentrated on details. Apparently the difference is complexity. I find this hard to accept as the image that doesn't work is just a little bit more complex than the one that does. I feel, after reflection, it is ambiguity and visual interest.
I am also finding it hard to accept comments on use of colour. Last week I was told a blue dress did not work, the week before the white on the bed. This week it is the green grass. All complimentary / contrasting colours to the room. That's why I chose them. When this is teased out, it is the opinion that colours more of the red range, the colour of the room, are more sympathetic to the cohesion of the image. This goes against everything I have ever learned in my 20yr design career or my 10 year painting career, or all the research I have done, photographer interviews, art history lectures and visual analysis, etc for the last 5 years. Anyway, the prominent colours in the image that works are blue and white. I really am just going to have to back myself here. I know colour and the emotion, sounds & ideas that can be alluded to by use of. I experience a mild form of synesthesia myself between numbers, sounds (or words) and colours. I am happy to accept responsibility for my failures, rather than fail making work that I feel is being prescribed.
I am struggling with this first image (with the child) and will be looking at Polixeni Papapetrou’s work to help me. Also Sally Mann.
I am also looking at Grayson Perry's 'The vanity of small differences' for his ability to tell a storey in it's entirety through the 6 tapestries.
I am finding it frustrating that I am told my images don't work AFTER I have spent time drawing them, thinking about wardrobe and visual content, sourcing these, shooting myself and spending the entire weekend making the work, with compositing. After making more than an image a week for 7 weeks I have one image that works. I feel we need to discuss my sketches rather than finished works, as it is always about the elements, actions or colours that are responsible for the images not working and this is all in the sketches. I feel it would help if the supervisor knew about the process of compositing. My process. But I realise it is my responsibility to speak up about both.