As I go through this part of the course I am learning how to communicate through my images however trying to push myself with the help of my tutor to leave intrigue and suspense while bringing attention to social issues affecting our world today. I am particularly interested in stereotypical expectations put on women today starting from a young age and also the affects of social media in our lives. During this part of the course I hope to explore these and to put together comprehensive works to start a talking point on these topics. I do not have a fixed opinion on the topic but believe they should be debated.
Inspired by Rolande Barthes and encouraged by the advice of my Tutor Moira Lovell.
I have recreated assignment 2. in honour of my grandmother and in order to show what cannot be shown. The love for those no longer with us.
Entitled: Loss, in memory of my grandmother.
Like Rolande Barthes and the image ‘a winters garden’ which he chooses not to share with us as the image would never mean the same to another as it does to him however those of us who have lost a loved one can understand it is the little details that remind us of them. A smell, a summer evening. For me the fondest memories I cherish of my grandmother are playing in her garden as a child making perfume from flowers in a jar she should give us. The crisp bed linen pulled so tight you could barely get into bed and the smell so fresh and clean that I can never seem to match. Brushing my hair and putting in rags to create curls. The swish of her skirt with its floral design. This project is so personal to me the words read out at her funeral which did not register at the time but if I read them today still put me in tears. There are no words or pictures that can do her justice but these pieces put together are what I remember of you.
I am still not happy with my retake of Assignment 3. It is not real enough or personal enough. I need to stop holding back. I do not want to reveal anything about myself too personal but this is not what art is about. Why does this top of children annoy me so much. It is not because I do not want children, it is not because I am not prepared to dedicate and love a child. It is due to a fear of having to abandon all my dreams, my career.
I am coming back to this assignment post Assignment 5. I am looking at using objects to convey a story. During Assignment 5 we are asked to record a conversation with a friend. In this case I have not recorded these but this is what I recall of conversations with friends and family in relation to a woman place looking after her child.
Conversation one regarding a friend who returned to work after having her second child. A person of the generation above her comments. That she dedicates no time to her children works long hours and is never there.
I was irritated by this as the father was not mentioned. I know for a fact that his career was not as successful or lucrative as his wife for various reasons. The field he was in etc. It is irrelevant. He works long hours. He lost his job at one point and none suggested he stay at home and look after the children which to me seemed a more logical decision then telling the mother who was a high earning successful person they should have given up their job.
Another coversation with a friend who spoke about expecting her first child. This is in Italy a country where traditional Male/ Female roles are stronger than in Ireland. A country I have spent much time in. She is a psychologist and social worker. S he explained how the minute she got pregnant her seat in the office became like bees to honey. Everyone was hovering around it and waiting for her to go on maternity and assuming she would not come back. She is very passionate about her work and however had resigned herself to the fact that with children she was not as desirable a candidate for promotions as it was EXPECTED of her to dedicate her time to her children. Again the fathers position was not mentioned his work place unchanged nothing but congratulations. In fact a good reason to ask for a raise.
Conversation three with a friend discussing a house husband, stay at home dad. For sure I will not have said it in the current PC manner. It was mentioning how he must miss the social life of work and how it could affect your confidence being without a job as it can make you feel like a failure. No do not mis-intend me. Many people choose to stay at home and relish it and therefore live a happy and fulfilled life. However what I noted was that for a man we can discuss being lonely missing adult conversation and wanted our careers back but a woman should only desire to stay with her children. This is still the mentality and pressure facing women today.
Finally I will finish up with an article in a newspaper I am tempted to include it her but it is irrelevant it is about societies mentality and how it has changed little. The article mentions a series of around 20 politicians recently entered into parliament for the first time. We are seeing as all around the world great political changes. Under the name of each political was a little bit about their background, for example Father was a political, their career etc. However for each woman it was mentioned if they had children, how many and if they were married. This may have been how they portrayed themselves and asked for this to be written to relate to others. However not one of the male politicians specs mentioned if they had children or were married or if their wife was in politics. Am I to assume that they are all single and childless I know this not to be true. So why is it important for a woman to mention this. On the news yesterday a discussion of Trump V’s Clinton int he American elections came up. It was noted that Clinton despite risking to be the first ever female president of the US has failed to capture the imagination of many particularly the younger generation. As this is my study blog and not a newspaper I can say what I feel. Why do they not feel she is representing a so called minority (which we are not more women than men in the US). They felt they would not vote for her just because she is a woman. Or perhaps the question is do we want to vote for a woman who for many years made her husbands career priority over her own. Who stood by him while he denied sleeping with young interns. Who still brings him with her campaign. Is she who we want to represent as a great woman to our young girls. Perhaps yes as she has learned and come from a generation where looking after your man was still considered what you do. But we need to discuss it.
Ok I have written enough my anger is evident how do I show this is images.
Again I am looking towards a series of images as I feel I may be able to tell a story easier.
I feel like having children will stop me from being who I am.
A faceless image fear of losing my identity.
An image with an apple sitting on top of books lap tops, brief case, symbols of work.
What about carrying a basket of apples on my head.
I have Cindy Shermans image from Film Stills in my head (see above). This image has stayed in my mind from the moment I saw it. Whereby with a simple photo of herself she has addressed sexuality. The position of women in society. She is challenging those looking at her. It is an image that asks questions. I want to make my image related to not having children. If we do we are expected to put our careers on hold if not then we are considered faulty in some way. Finally the below concept came to me.
While putting the image together had been using apples the images seemed contrived false and even aesthethically not interesting. This time I used eggs more subtle perhaps but still bringing forwardly point. The image could be for a cooking lesson however why would one beat eggs with the shells on. I toyed with using nudity but somehow that is so over used that it would just have been another naked picture. The bare torso I hope will seem unusual in a cooking image and get attention. I have used flashes in an indoor setting combining the Kitchen (often seen as where a woman should be) , an unusual bare legs and torso to imply sexuality and the eggs with the beater. The flash has created a shadow of the wire on the torso leading up to what we cannot see a face. The lack of identity of this woman it is about what a women is seen to be used for the face the person is irrelevant.
So I have received feedback from my tutor. She has noted that my critical analysis and engagement with my course is good however my image is too vague and does not convey what I want it to. I can see how my image did not convey necessarily what I want it to and so at the advise of my tutor I am furthering my research. My tutor has also advised that I do not have to take what all critics we study say. I can argue it, look for a gap in it and make it my own. For inspiration I have been further reading Campany’s writing as I find I can relate to it in a contemporary fashion. My tutor has asked me to continue with the idea of a self portrait and to look at using objects. I want to go back to one of my earliest memories, realising how unfair the world could be. When seeing two young children begging on the street. They were my age, where were there parents. Why did no one help them. A young person struggles to understand the injustices of this world.
I was advised to look at the work of
Noemie Goudal using plastic sheets and a self printed backdrop to create a scene and it works. Perhaps all them more because of it.
I looked at the work of
Tess Hurrell using cotton wool and power to recreate explosions. I am realising that I do not need elaborate scenes to create a photograph.
Perhaps in order to find my style and say something I need to start with what I can control small objects there will be time to photograph scenes and people in the future if I feel this does not work.
I need to be honest with myself and my abilities and look for a style that suits me. I was intrigued by the work of Penny Klepuszewska and her use of objects. The lighting style is something that I like and that I strive for. The punctum that I so often miss is there in her images. They say something to me. The single plate on a tray. An empty wardrobe with a single photograph or postcard. The faded image of a married couple with a picture of a dog. We are told the story of a person late in life. What is left seems solitary faded memories. This is what an entire life boils down to. There is a sadness I can feel it when I look at the images. I always felt that I should have people in my image. I am inspired by creating images like Wendy Mc Murdo and Jeff Wall. However as I have done many times so far in the course I am keeping my mind open and thinking of how I can adapt this technique to my own work. Relieving the pressure of having people and elaborate setting.
An idea came to me I started scribbling it down about the children who have found themselves without a home in Ireland recently due to the recession. We talk a lot about the economy coming back but we still need to remember how many families lost their homes. They cannot all be branded uneducated, lazy, drug addicts and if this is the case then the system has failed the children in some way. However these days with so many middle class families and I hate to use the term how about educated people who had jobs and owned a home and followed all the rules of society still found themselves on the street.
How do I portray this I thought about the traditional cardboard frame we get of a school portrait. Could I stick in a different image of a child not in uniform selo-taped into it.
While looking through the book Art and photography, David Campany, Phaidon, 2014 New York. I came across two works regarding homeless people one was Anthony Hernandez, showing the debris left by the homeless in the daylight hours and their absence. Whereby the must make themselves invisible when other people are around. The other work was by Boris Mikhailov. The photograph uses traditional type of documentary style while photographing its shortcoming. The image shown Case History 1998 Colour photograph 1. In the mite two people are helping a man who’s upper half of body is nude and in the snow. He seems helpless and limp. The snow in the background is not a climate we expect someone without covering up and the other people have coats. It shows a humanity as they try to help this man which I believe has more effect than just showing a person in a desperate state as it reminds us this person is important and has loved ones.
A cardboard box containing books, a teddybear things that belong to a child but should be in their room at home. Would this succeed in portraying a person homeless.
Then I thought what about the innocent house that children make out of boxes, sheets, pillows the imagined house. This would portray the innocence of a child while also projecting a desire of a homeless child. It is not a game there is no home and so it is what they wish for. Would James Mollison mind if I borrowed the title of his book. It struck a cord with me “where the children sleep” it is a book of children bedrooms around the world and it shows the richer countries, poorer and just cultural differences. In this case I want to show the difference between rich and poor with an image I hope it will make people think.
Perhaps instead of a single image I will create a series this time. Give myself more of an opportunity to tell a story.
This has reminded me also of an artist I looked at before
Kaylyn Deveney – Alfred Hastings. Again there is a use of object to portray a punctum and a story.
Anna Gaskells images show a tension. The abstract angles add an anxiety to the images. The implied violence the girls show to each other. The images put me at unease. I admire so much the ability to create a psycholocical effect in images. The use of tights from the being removed hinting at the age of when pre pubescence the awareness of sex and of being a desired object. There is also the restrictiveness of them something only women wear to cover their legs. Why do men not wear them they are not comfortable they are restrictive. The pointing, hair pulling things we do to each other.
Her work is very interesting focusing on the effects of migration from rural to urban areas in her native Finland. Limndqvist digitally removes any traces of human life from around the place she photographs to really portray how desolate life has become in the more remote parts of Finland. The images have a distinct style, are melancholy and make their intent known. the melancholy is transmitted a sense of loss of things past and of decay showing that she does not feel the loss or rural life is a good thing.
Losing our roots to our ancestors and more and more giving into globalisation and commercialisation we are losing our touch with nature, reality and losing our own well being in the process.
Another option I was considering was. If I was to take the images of the cardboard houses build by children. And do a two sides of the story as in Assignment 1. One of just the boxes with the children toys. The second one to digitally place them on the street the perception of what we are looking at could be very different. I am far away from Dublin where I feel this story is relevant. Could I find old images I have of dublin streets and adapt them to my project? Could I print a screen as I have seen in the examples given to me in my tutor feedback. I keep blocking myself in my work when I feel I am not in the relevant place due to working so far away and travelling. I need to just focus and shoot what is available where I am using my imagination.
The following is the beginning of a series I hope to continue to work on. It is reflective of my childhood memory. I recall seeing two homeless children on the streets of Dublin. There were even there when mum took me shopping for shoes when I should have been at school. Why were they not at school. Why did none of the adults walking past not take note. How did the police not ask the children where were their parents and help them. As a child I was shocked that this could happen to a child and to me I could not understand how people could not help them. I realise it can be more complex but even now as Ireland has found more and more young families living on the street and as an adult I still believe there is no excuse for it no matter what the complex situations behind their lives are. How can anyone have a chance in life if as a child they are already on the street and not getting an education.
In my final presentation of this I would envisage it in a Gallery where children can also come and draw on cardboard boxes. The cardboard box to me has always been the symbol of homelessness. Using it to lie on to keep off the cold ground and it is usually cleaner. The children items are to bring home the idea of a child lies here. I did not want to put children or people in the image to avoid “Compassion Fatigue” to use Susan Sontags term. The locations have been chosen deliberately. The door with images of Alcohol often a cause of homelessness but also often an excuse for people to do nothing assuming the person living on the streets is either a drug or alcohol user. I have used the School bag of a small child unlikely to have chosen to drink or use drugs. The small merry go round toy shrined in light and with its shadow behind give to me a sense of eeriness. Behind bars to give a sense of how difficult it can be to get out of a homeless situation. A person is imprisoned in their situation. The teddy in the sleeping bag on the street. The sleeping bag was there not his street. It was just before all the shops open so workers on their way to work and soon for sure this person would remove the sleeping bag until night fall. The fourth image of a cardboard box with a drawing of a home, showing the imagination of a child again on a street with rubbish bins just off the main street where homeless people often find a meagre shelter. As homelessness especially for children has always been something close to my heart I have taken note of the kindness of people. Who tries to help, with money with food, with school children who choose to sleep on the street in winter to help raise awareness, to the kind cafe owner who allows the homeless person use the toilet and bathroom. To the person who offers a cup of tea and a 5 minute chat to remind those on the streets they are human, they are worth talking too and they are visible.
I would like to take this to a gallery. The many images. And in the centre of the room to have a large house made out of cardboard boxes. Allowing any children who enter the gallery to design it, children are so imaginative and love to draw. However if one enters the house there would be images and sounds of cold lonely streets, to give the sense of how along and scary it can be to sleep on the streets in stark contrast to the children designs on the outside.
I imagine a similar set up at a bus station where a closed area by the bus could be covered in advertising posters or pictures of people waiting by day of the scene the everyday person finds themselves in. However go inside this box and see a picture of how it is at night with a person trying to keep warm and safe. With the sounds again of the night playing over and over. A sense of panic is what I would like to create where the person inside cannot wait to get out. Just as the person who lives on the street would love to escape to a safe and warm indoors.
I note this assignment has culminated much of what I have learned during my course, from the use of a childhood memory to photographing the unseen in a way. To using props, symbols and combining images digitally. To creating a story using multiple images. The series is not perfect and I will continue to work on it.
I was not quite happy with this set of images as my tutor said there was only one image that could have affected you emotionally or that had its own Punctum. I have had many ideas on how to improve my other assignments as I near the end of Context and Narrative and yet with this series I had it on hold.
I was inspired by a few different works Lydia Goldblatt being one that my tutor suggested. Lydia Goldblatt post
Or Karen Deveneys work ‘the day to day life of Alfred Hastings’
Having continued my reading from Rolande Barthes, Annette Kuhn and Susan Sontag I feel my knowledge of critical analysis is feeding my photography and I am realising advise that I have heard before is making sense photograph what you know and what is closes to your heart.
Recently I have been flooded by many memories of my Grand Mother after a trigger made me want to pick up the phone and tell her about my recent travels as I would have done in the past. For a moment I had forgotten I can no longer do this.
I thought about going back to the home where she lived which is still occupied by my U
ncle despite my not going there often now and some changes thought not many have been made to the house to photograph some items that remind me of her Then I thought I could combine Assignment 2 with the white handkerchief which to me symbolises sadness or grief what I had originally planned as a topic for this assignment and then proceeded with a wedding instead. I would like to use personal items of my grandmothers that mean something to me. Her Blue Hairbrush, the painting of Padre Pio over her Bed. The flowers on the bedsheets, the beauty desk in her room and finally the speech which was read out at her funeral by a family friend which was so well worded it made my grief real. I do not remember the words at the funeral as I was distracted by many things at the funeral, a man I did not know crying so hard at her funeral perhaps a childhood friend. Keeping an eye on my sisters and my mother who’s grief seemed so much more acute then mine. I had not yet come to realise my loss until this letter was sent to me with the words written on it as they were read at her funeral. My husband came and found me on the couch in floods of tears and was taken aback it had taken some time to realise my loss.
Perhaps it was how all of her beautiful attributes were put down on paper how she loved people, and saw all people as equal, attributes I remember but did not realise everyone else also saw. My Grandmother would have hugged a stranger any friend you introduced got a hug. My memories when she met the President of Ireland while staying in New York as for her all people were equal she walked up to her to tell the president how much she admired her to be blocked by the presidents security much to the amusement of President Robinson who realised how harmless my grandmother was. She would chat to anyone and yet could also happily sit in a room with a smile on her face as she watched people mingle or go about their lives.
Her love of sport my favourite story of her being when I was a teenager and brought two of my friends to her house. The two boys discussing football until my grandma got involved in the discussion with her sharp memory of games recent and long past they were left with their mouths wide open realising that their knowledge was so basic compared to my lovely grandmother. It did not stop at football, it could have been rugby, snooker she loved all sports but they were her favourites. I realise I am going on and on. This writing his helping me to put my ideas on paper to complete a piece of work that is much more personal to me and perhaps to put together something that will forever remain with me as a memory of my grandmother.
The tightly placed fresh crisp linen on the bed
The flowers in her garden where we used to make perfume.
While reading Campanys book I came across the name of Jeff Wall again. For me Jeff Walls images have been a real eye opener. I love street photography and have a keen interest in social issues. I had never thought of staging images it felt wrong in some way. Perhaps the phrase of the precise moment in photography meant that if you had to stage it you had failed somehow. However recently while learning more about signs and semiotics and while experimenting with Self Portrait a whole world opened up to me.
Each of Wall’s images start from a concept of his and often inspired by a famous painting or piece of art. I must note that his connections to certain pieces of art are sometimes lost on me however what I do appreciate is that each image is a contemporary city scene. That I could have been witness to this scene in many places and cities around the world. Each images allows for conjecture and yet points us in the direction we want to go. Walls images for example of Dead Tropps talking are not so much politically inspired as inspired by something he feels or has witnessed. Wall had taken street photography to a whole new level.
See Also my comments on Jeff Walls work in blog post Assignment 3 retakes.
Images taken from moma.org. Jeff Wall Moma.org
I enjoyed reading David Campany’s writing with the examples I have come across during my courses so far. I therefore purchases David Campany, Art and Photography, Phaidon 2012.
The book his a history of photography in a comprehensive and interesting way. Company has a style of writing that is thought provoking and yet simple to read.
Campany also puts in context how Susan Sontag’s On Photography 1977 Rolande Barthe’s writing degree zero, 1980 were the beginning of photography’s critical writing. It is good to put them in context as the beginning of critical writing and how they have since influenced other critical analysis. My objective of reading this book is to get a further understanding of their writing and other critical analysis hoping it will improve by critical writing and also my photography with a better understanding. I then aim to return and read again Susan Sontag and Rolande Barthes writings.
Memories and Archives – So far having read Annette Kuhn, family secrets, Verso Books, 2002. I have learned to read historical and even personal photographs in a more informed way. How our perception of photographs can be shaped over time and even images we were present for can change meaning over time as our recollections are shaped by further history. I have looked at Umberto Eco’s examples of the open work and now reading Campany’s writing I am seeing other examples of this work that for me pull all this information together.
Rosalind Krauss, Craig Owens, Douglas Crimp, Abigail Solomon Godeau, Griselda Pollock, Regis Durand. Critics or theologists.
Also artists and critics Victor Burgin, Martha Rosler, Barbara Kruger, Yve Lomax, Allan Sekula, Mary Kelly and Jeff Wall.
Allan Sekula, photography remains a “fragmentary and incomplete utterance” it means little on its own and relies on a broader textual and discursive apparatus to bring out its latent possibilities. As Company states ” a photograph might be a fixed image but its meaning is much less stable.”
Museums and Gallery exhibitions that revisit images in order to define photography. (windows and mirrors,)
Grids example of German Artist, Gerhard Richter using the grids of photographs that influenced his paintings. They often seem incoherent where it is difficult to see where they all pull together in his work.
“indeed there are strong parallels between photography’s emphasis on incidental details and the involuntary memory fragments that are the raw material of psychoanalysis.
Carrie Mae Weems took images of a slave family who worked in a South Carolina in 1850 and for her series Sea Island 1992 she turned them from a series of Ethnographic studies into a formal portrait and thus shifting our relationship to the sitters and the status of their history.
Discussed is Rolande Barthes visit to an exhinit designed to shock in 1969 however these images failed to shock as Barthes felt too much the presence of the photographer governing what he was looking at and blocking the information in the images. The indexical could be felt perhaps stronger in amateur photography than in any image taken by an artist where the artists presence was felt too strongly.
We look at John Swarkowski ‘the photographers eye’ a show designed to define the characteristics of art photography. To include vantage point, detail, frame and “the thing itself” Campany states how this exhibit was too preoccupied with assessing images as formal objects to become fully engaged with thinking about photography as a field of social practice.”
In the book by John Szarkowski, Mirrors and windows, The museum of Modern Art, New York 1978. The text accompanied the exhibition of the same name 1960. Szarkowski talks of a world where images are divided either into two halves straight and syntethic photography. He defines two contrasting aesthetic styles with a “mirror, reflecting a portrait of the artist who made it, or a window through which one might better know the world?”
It seems in Campany’s opinion Szarkowski has not realised this however has focused too much on the technical aspects of the photography. This could open up the discussion as Susan Sontag On photography discusses it also our expectation of the aesthetic. If my understanding is correct I can see Campany’s point however Szarkowski indicated what we are looking for we now have a better understanding of the effects of the frame from voyeurism to a window to the world or adding tension at the edges of the frame etc, we have been over saturated with beautiful pictures to pictures that appear to be shot by amateurs. The artist today is still trying to find the best way to communicate emotions wether they be a mirror of their own world and life or a window into others.
Campany discusses how art-photojournalism of Evans and Bressons developed then into Street photography, perhaps the only genre specific to the medium from here as it lost its grip on art-photojournalism due to Television etc and its own narrow parameters it had set itself. The negative consequence of becoming a self-conscious genre was a lapse into formalism, a move away rom social engagement into privatised and obsessively subjective styles of seeing. “As it waned it fell into empty repetitions of its past glories and a tendency towards exoticism with a sometimes patronising attitude towards its subjects. Many of the more politically committed artists and writers were frustrated that the vital, creative and radical potentials of a photography of the everyday had been squandered or marginalised or merely aestheticised. This became the subject of an intense critique in writings and artworks. ”
We look at Martha Roslers the Bowery which was a “product of the commonplace photographic discussion about hardship” with its endless euphemisms of drunkedness and dilapidated doorways.
Allan Sekula argued that “the subjective aspect of liberal aesthetics is compassion rather than collective struggle. Pity, mediated by an appreciation of great art, supplants political understanding.’
Company ” Museums and book publishers presenting photojournalism most often in exhibitions and formats that divorced the images entirely from their context, so that they became repetitive objects of formal contemplation or instances of great photography”
Edward Soja ” we must consistently be aware of how space can be made to hide consequences from us, how relations of power and discipline are inscribed into the apparently innocent spatiality of social life, how human geographies become filled with politics and ideology.” (note to self to further research this regarding social media and society today)
in the 1980’s it became evident that photography had to revitalise itself in order to remain a significant means of engaging critically with its new environment. Philip – Lorca di Corcia for the series Heads in 2000.
Ken Lum’s work of staged portraiture with text to dramatise the minor crises and doubts of everyday urban life.
Jeff Wall. His work began in the 1970’s but became most significant in the 1990’s moving towards an array of social situations experienced in the contemporary city. Company describes Wall’s work as combining the descriptive character of photography with the possibilities of staging and an acute awareness of genres from the history of painting and cinema.
Jo Spence – photo therapy, questioning mass culture in cinema television and magazines.
Social order – how the image can be used to reinforce it. (Relate this to Susan Sontags compassion fatigue regarding the bombardment of images for example of poor black children another sad african story and it has no effect make this about well educated white children in the west and it can have a different effect on the viewer. She talks of how the constant poor image can reinforce our own sense of superiority as opposed to causing a sense of sympathy or a need to react and address a social problem.
Gillian Wearing ‘sixty minutes silence’ 1986 Here a group of actors pose as police men. we have discussed in the book how photographs are used to keep social order. This is also relevant in Rolande Barthes book ‘writing degree zero’ where political writing such as marxism who are keeping alive a ‘bourgeois style of writing which bourgeois writers have themselves condemned long ago, sine the day when they felt it was endangered by the impostures of their own ideology barely the day when Marxism was thereby justified’ here Barthes describes how Communist writing and subsequently Marxism writing had to take on the pretence of Bourgeois writing in order to appeal to the lower middle classes, they did this by mechanising intentional signs of art for example adding nouns to each subject the pretence of bourgeois writing was given to the less educated.’ In order for Marxism to appeal and continue to appeal there must be differences of class and education exactly what it claims it would like to expel. By creating a writing that appeals to the mass they are in fact reinforcing the class differences and keeping it alive. To return to Gillian Wearings work the police sit for an hour however they are filmed not photographed and slowly it becomes more difficult to keep still and to keep the impression of order expected of a police photograph. Eventually this unravelling of the order can be visible in the stills. Campany explains that ‘historically photography has been a way of fixing identity controlled by those in power. Here Wearing allows us to gaze at the law unravelling into a formless group of uncomfortable individuals.’
Example of photo regarding homeless Anthony Hernandez ‘No 17 from landscapes for the homeless’