Firstly what has drawn me to produce newspapers is that I like that the works produced are ephemeral, are cheap and an easily distributed versions of the work. However the process of making them is actually quite liberating. The limitations of the format are a challenge and make one look at ones work in quite a focused manner. Editing becomes really important, and it is a process that is quite different from making work for exhibition (my usual outlet). I feel like you start to really get to know your work and you have to be ruthless in trying to convey your message succinctly.
I think that the format of the book is perhaps a little precious and too dependent on the minutiae of print quality (colour, resolution et al) These objects are quite rough and ready. Newspapers are disposable, but have a similar engagement in terms of flow and message. Just as an FYI It is also my intention (when going back to school in October) to do a ‘Practice what you teach’ set of projects; completing the assignments that I set my students in the same time frame that I am giving them. These two experiments are part of this
I like that the medium becomes part of the work. The two newspapers that I have produced so far are quite loaded with connotations. In section the idea is that the viewer takes away an impression, or a piece of the space that is photographed. A translation of two forms; a rubbing and a print. This was conscientious in reference to Martha Rosler’s work ‘The Bowery in two inadequate descriptions’ and her criticism of the ‘pick a bum’ school of photojournalism that she felt pervaded 70’s ‘gritty’ photography.
I suppose it is with this in mind that I use the newspaper. It has an instant relationship with a version of misguided opinionated evidence, that to some extent is regarded as empirical (though filtered). The sunflowers piece is an oblique narrative of forms that I have anthropomorphised, and in this context is an attempt to highlight the subjective nature of photography in the context of news.