Week 6 ; Tim walker, 28.02.20

Week 6 ; Tim walker, 28.02.20

 

Last module, I discussed Tim Walkers wonderful things exhibition in my crj here ; where I talked about one of the final outcomes for the MA  - my desire to create an immersive exhibition of the final collection of images from my research project. Before going to the exhibition I had never ever heard of Tim walker, and unless without realising it , (which is of course very likely, not just possible) as a non-vogue reader , I had never come across any of his images. 

Honestly, his images are good, but I don’t think they’re mind-blowingly good, but what I do think, is that his ability to create a set is fantastic, and it was this that I was looking at in the realms of an exhibition. This ability to create a scene for a child to fall into, that is what I want to create in an exhibition, and immersive, interactive experience for the whole family, where they get to see a visual representation of other families who live and educate like they do. Thats not to say this exhibition is only for people who out of the school educational system, it’s not at all, but I do want this exhibition to be geared towards them, and then hopefully other people will enjoy the experience as well, and will see a little more into our worlds, by me remaining true to that , through to the end production. 

Today I got chance to sit and read through Tim Walker’s book ‘Pictures’ ,  that I had loaned from the library. In the opening essay Robert Muir says ” And when the land cannot immediately present itself, trees, streams, ponds, glades, and entire rustic vignettes can be recreated by artifice . That these elements of the natural world are often recreated indoors adds an extra dimension to the tensions of town versus country. ” (Muir. 2008. pg 8 ) This ‘tension’ is what I wish to create in my exhibition, except the tension will be between our ideas of what a pedagogical space does and can look like, that is what I wish to play with.  Muir goes on to say … “An attachment to the idea of what Britain once was - even what Britain should have been – is, I believe, the key to many of Tim Walker’s photographs. And what, in the childhood storybooks of C.S Lewis, E.H. Nesbit, T.H.White, and Arthur ransom, it meant ; loyalty & camaraderie; long golden summers, an unquenchable thirst for adventure, and as a backdrop, the constancy of the English Landscape and the inconsistency of the English climate.” (Muir. 2008. pg 9) This quote is so timely, as we have just this past week been discussing landscape and the gaze of the photographer in relation to it, ironically I had written in the forum that I wasn’t interested in Landscape photography in the slightest (read here) however, once I started reflecting on it, I found that I was indeed interested in landscape photography, but just not in a way I had recognised before picking apart my own thoughts in the forum. That was, that I am interested in how the mother, the maternal, and the landscape interact with one another, and their intertwining metaphors. After reading the above extract it has also shown me that I am obviously also interested in how the child and the landscape interact, and the landscape and pedagogy intertwine and feed off of each other, I was obviously just thinking far too two dimensionally about landscape photography, what it was, and what it had to entail (searching for ones soul in the vast open plains was what I was envisaging, and saying I wasn’t interested in). This extract above really does make me think much more about my practice and what I am attempting to capture. This nostalgia for days past is seen walking hand in hand with embracement of the modern, and technology in our own personal home education, and I know many other home educating families lives as well. Any exhibition I end up having, will have to, in my eyes to be successful, play with this both in imagery, and in delivery as well. This delivery of a slow paced past , of ‘long golden summers’ of ‘Swallows and Amazons forever’, and VR technology, Mars missions, and the like. 

 

 

REFERENCES

WALKER, TIM. 2008. PICTURES. GERMANY, TENEUES

T~F~:

Your email is never published or shared. Required fields are marked *

*

*

F a c e b o o k
I n s t a g r a m