This photobook consists of vernacular photographs collected from strangers through the help of social media. As a curator, I have no personal relationship with the images, so the narrative(s) throughout the book is solely constructed from the viewer’s personal association with certain details within the observed images. The book also explores the importance of the patina of images as a means of characterisation for the material photograph, and the significance of family in terms of the emotions and memories photographs can elicit.
The following paragraph can be found towards the end of the book:
Within this book, selected photographs have been presented together displaying the front and reverse of an image, they do not originally belong together. They have been carefully positioned next to each other to allow a new narrative to emerge by the viewer and their individual associations with certain details within the images. It is, however, a personal question if this information will change the initial narrative.
The book also challenges the notion of authenticity. We automatically assume the authority of a photography because of our original relationship with it altogether, as evidence within the industrialised state. When we are presented with old vernacular photographs, we would presume them to be true, as it would seem unlike for them to be manipulated.
The book also challenges the notion of authenticity. We automatically assume the authority of a photography because of our original relationship with it altogether, as evidence within the industrialised state. When we are presented with old vernacular photographs, we would presume them to be true, as it would seem unlike for them to be manipulated.
This piece was exhibited at the MMXIV-MMXVII, The University Of Lincoln Contemporary Lens Media Degree Show 2017.
If you're interested in hearing more about this project or purchasing the book, feel free to contact me as I would love to talk more about it!
