Image credits

Rodney Tompson

MA Fine Art

The consistent approach that has informed my practice has been to treat the photographic image as pre-considered. I imagine the possible outcome of the image before making it. This does not always work, but usually it does. It has on other occasions led to useful accidents. My other main concern is form and composition, which I consider regardless of content. I have found that the camera, because it is a mechanical device, determines the image in a way I find limiting.

This may seem self-evident but has become particularly significant with the proliferation of the digital camera, and the volume of images in circulation. It has, on the one hand, democratised photography, but does the heterogeneous nature of its imagery present challenges to how it is interpreted as fine art? Referencing Cartier Bresson, Sontag suggests that “The cult of the future of faster and faster seeing alternates with the wish to return to more artisanal,purer past-when images still had a handmade quality.”* How an image looks, as an investigation of its material, has been for me, a way of working with different methods, creating images via scanning, inclusive of building my own equipment.

*Sontag, S. (1979) On Photography, London: Penguin.

Aubergine 1010

– Aubergine

Pepper 1010

– Pepper

skulls 1010

– Skulls


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