Fundraising for Exhibition


Since the exhibition was upon me and the other photographers, everybody needed to be divided into groups with particular roles to create the upcoming 2018 event, for me, I chose to work in the FUNDRAISING group despite my lack of experience. The lack of experience was about become experience which was a good move for myself as a student. The first discussion with my group was the budget and target for the fundraising and strategies of building towards our selected target. The image above showed a rough price of £16,000 along with a list of sales, advertising and websites in support of the development. I wasn’t very confident working in groups as my understandings towards tasks are rather simplistic and everything mostly seemed complex despite disagreements .


Visiting exhibition spaces in London including Candid Arts 

After planning on ways of making money such as cake sales, selling prints etc, I and other colleagues in the Photography course (unlike Fashion who had their plans the week after) visited London for an inspection of spaces with awareness of size and cost, the visit went very well as it also helped me with my Major Project ironically (as London had a lot of strange yet satisfying structures all around the areas I visited) Candid Arts was honestly the best in the end as most students voted it as the most suitable for our upcoming exhibition.



For my establishment with my group, I discussed some ideas that worked with the previous third years in my university successfully having a Tombola, Raffle and Cake Sale which influenced me and my colleague Ethan who was also part of role to have this setup for January in hopes of repeating the same outcome as it would essentially benefit the group. My role along side my collegue my Ethan was to book stalls in the office as well as assisting setting up the stalls and selling cakes. In addition, the timetable for my term in January 2018 would have some self directed study days on a Monday as well as my usual days which expanded my chances of planning the stall setup much more accurately as well as some other students willing to help out with the sales.


The stall was setup in March as planning had been rather difficult, the setup had a variety of homemade and supermarket cakes on sale for 50p which was a very big success as the stall completely sold out leaving the fundraising group a profit (excluding the float) of £100. After this we had hopes of receiving online donations from our Kickstarter video promoting the upcoming exhibition as well as having a print sale.



This sale involved much more cakes than the previous sale as new members were joining the fundraising group. Their cakes added to the collection which increased the chances of sales, the sale in the end was fortunately sold out along with some second-hand clothing resulting in a profit of £100.


This sale was much larger than the previous two sales as this involved two other stalls, the stalls included prints, second hand accessories (such as DVDs, games and books), cakes and second hand clothes. The first day of these stalls being around were upstairs in the photography section of the university which was rather small plus the building was less busy than the day after, either way the stalls on both days ended up with a profit of £250, so in strategy, it was discussed that the groups would lower down prices for a few stuff which would potentially increase the chances of sales.



The Kickstarter video was a promotional teaser of the upcoming Eye Candy and Sugar Exhibition, the video was a montage of people experimenting with photography equipment and photos that were part of each students FMP (Final Major Project). In this part, everyone would take a seat and be filmed for 5 seconds to be part of a montage of the photographers as part of the exhibition, the video’s goal was to raise money in combination of the cake sales.


KICKSTARTER filming and screenshots of video




  • 22/11/17 (Duration: 60 mins) Notes
  • Our Fundraising plans list
  • Planning to raise money between £16,000 and £20,000
  • Plan for Kickstarter video
  • Plan for Northern Seaman bar to exhibit and sell prints
  • plan for Cake sale, Raffle and Tombola
  • House party to sell prints, food and drink
  • Posters, Noticeboards and social media for advertisement.
  • 10/1/18 (Duration: 60 mins) Notes
  • Myself and Ethan having a possible partnerships with Fashion Design/pictures for clothing
  • Cake sales becoming more proactive as prints wouldn’t sell as much in comparison
  • Kickstarter needs a list of donator rewards
  • Postcards suggested
  • 31/1/18 (Duration: 60 mins) Notes 
  • Stall in Rochester booked for 10th March, 5 prints per person, their work or local photos of Rochester
  • Kickstarter planned to be running for the next 6 weeks
  • Planning to be interviewing students about their Final Major Projects for the Kickstarter video
  • 4/12/17 (Duration: 60 mins) Notes
  • Fundraising team plans a stall on 9/2/18
  • Thinking about raising a stall in London selling prints £50 – £70
  • Fundraising plan to setting up an a exhibition to sell prints at Northern Seaman
  • 07/03/18 (Duration: 60 mins) Notes
  • Brad sets up a PayPal account for online payments towards cake sales
  • Colour schemes being discussed with sales and logo of exhibitions Eye Candy & Sugar
  • Cake Sale planned for 9/3/18
  • Heike suggests days Wednesdays and Thursdays for the cake sales to open
  • Brad plans to verify self identification along with promotional plans for the Kickstarter project
  • Print Sale online
  • Ravaan plans a second hand sale at a house to raise money for the fundraising group
  • Abigail and Alex plan to organise a stall for the fashion students to raise money for the Sugar exhibition
  • 21/03/18 (Duration: 60 mins) Notes 
  • Kickstarter video finished
  • FMP (Final Major Project) images planned to be inserted into promotional video
  • Exhibition space awareness and planning
  • Dallas recommends a market featuring second hand clothing etc
  • £250 made from cake sales
  • Theoretical plans for weekly cake sales for the remaining 8 weeks from this date
  • Print sale theoretically planned to be located at someones home including free food and drink (5 different locations) Laura (from the curation team) sold £600 from her house sale which could be beneficial for current sales ( her sales consisted in A4s for £10 and A3s for £20)
  • Plans of selling 8×10 prints
  • Possible plans for UCA foyer market
  • Depod page up and running
  • Looking into sponsorships for the exhibitions
  • Alex recommends T shirt sale with peoples images on the clothing selling for £45
  • 11/04/18 (Duration: 60 mins) Notes
  • Plans for students to be filmed for addition to the Kickstarter video
  • Preparation for second hand and print market stall coming later in a few days
  • Fundraising team plans sales
  • Kickstarter needs group photo or some way to get all students involved
  • Kickstarter needs explanations of work meanings





Within the Outside


This idea had a rather ambiguous meaning when I imagine its aspects despite the methodologies or construction, it consisted in my chosen subject of Architecture. Initially, I had thought of Light and Shadow as the Architecture’s key context but things had changed time to time. I researched a variety of architecture as well as their visual features, I never observed the authentic functionality of such an ambiguous yet beautiful piece of objectivity which then in my research I came up to a point that a photographer’s perspective was rather different than an architect’s.

The majority of buildings are structural tools for their users within them, they are one of the most repeated features in the Earth’s space which brings a little investment, but it can depend on the whereabouts of the spaces the buildings are essentially part of. A working space itself can be just as incredible as their users that define the world essentially, the open doors of a building along with the open power of modern art.

I live in a technologically creative society consisting in multiple forms, its like if people could take a subject of their choosing and turn it into art, Its something I have been doing in my imagination with many life inspirations as there were some within the art world. My iPhone as well as some other digital cameras I’ve used has purely influenced me to express myself creativity by manipulating the everyday life.




After a discussion about my idea of the styles of editing images, I looked at some materials in my university shop that were actually quite interesting and worth photographing. These materials are visually elegant as well as what they were authentically made or used for, I imagined a comparison between these materials and architectural structures and thought about what could possibly turn a subject that was commonly underestimated on its outsides presence by civilians into something much stronger. Overall this shoot was theoretical in a sense of comparing colours and materials often used for decoration as well as the surfaces of a structure with elegant forms, however I believe that the structural forms for a shape mostly hold true comforts in their insides rather than outsides.



After looking at the examples of materials and colours, I visited the town of Ashford for an architectural photo shoot, the original shots of the buildings still had their artificial effects in regards to my photographic approach. This approach was consisted in a variety of camera angles which had slightly manipulated the visuals of the structural shapes by developing my position as a photographer, buildings often have their key presences higher than ground which purely influenced me to capture those identities like so. The shoot overall wasn’t very long as the whole town didn’t quite have a majority of buildings I found photogenic in regards of their materials as well as forms, plus I could of tried to go round the buildings I did photograph for extra development instead of focusing on one side.




My Personal Favourites 





My Edited Versions

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Image 1 with highlighted and recoloured particular pieces by using the hue/saturation tool




Image 2 with the use of auto quick edit before uploading the RAW file for a better exposed image along with the development of saturation on coloured glass (aside changing colours of other materials much like the first image) 




Image 3 being edited on reflections since the pink building needed to look realistic in tone as it naturally reflects itself against the curved red building. The windows of the pink building were also experimented as the frames were inspiring to fill, by doing this, I made sure they correlated with the all-new green structure aside its realistic shades in relationship towards the natural light of the photograph. The clone stamp tool was put to use to clean up overflowing colours and inaccurate tiled lines. 



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a version of image 3 including a mixture of original tones and a new addition of green added to the curved building




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Image 4 with a hue change of blue in the depressed area of tiles.


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A found image of a swimming pool glisten effect from natural light


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Once the swimming pool image was placed on my building image I duplicated it into two layers within the background layer and then stretching and cutting them for in order for them to fit into the depressed spaces of the structure to then form an illusional image of a pool against the structure to fit my imaginational prejudice of the original image of the structure
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The first layer shows the pool image going across while the second shows the other going upwards while the layer overlay effect combines the patterns to create the illusion


Outside Love image 4V3
final image showing a cropped and straightened photo aside its creative tweaks

My Analysis 

The editing process of the images was the true establishment to this development, as my plans was to create something new out of the authenticity of the structures which  introduced a different yet interestingly ambiguous functionality.

The first image was a simple start of experimenting with colours, this consisted a methodology of selecting particular areas to adequately change those colour tones inside of them.

The next two images (two and three) were having those elements repeated, however with an extra development of reflections or enhanced saturation since there were areas of coloured glass as well as reflections of structures against one another which naturally created a mirror effect of the structural shapes, this was the key strengths as well as the differences in those images in comparison to the first image.

Lastly, the fourth image took the development a step further, this was by not only having the elements of colour but also a humorous collage effect which gave the structure of what may be argued as some sort of parody, but my intent was to express my imaginative prejudice of the structure as its materials was beneficial for allowing a new perspective to be shown much like the previous coloured images.



Once the edited images were organised, I then used a layout effect by using the Layout application on my iPhone to create mirrored versions of the images which were being duplicated to support the effect with a professional looking balance. The images combined to each other formed into one whole new image which brought a new speculation yet satisfying addition into the series. The layout app was an experimentation I had enjoyed using for a long time as I used it for a majority of photos I took on my iPhone.


Layout image 1

Layout image 2

Layout image 3



Layout/grid images I had created in my spare time

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St Pancras station’s walkway
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Early morning sky from plane POV






My second photoshoot was an experimentation with a few old fashioned structures as well as the Marlowe Theatre, after the shoot I looked at my images and narrowed them down towards two vintage materials aside two modern materials. The historic structures I thought was possibly a good move to the project as it would look more like a pattern. However the differences was not something to despite as it was difficult to inspect the photographs of the old buildings in terms of the editing which caused me to contemplate on whenever I could change the colours since the original patterns defined the structures dominantly which changed my strategy in technique using reflection.



Image 1
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Outside Love image 6

For this photograph of the Marlowe Theatre, I change a variety of different areas much like the process of the previous images from the Ashford shoot. I manipulated the building as well as its sheltered walls and ceilings along with the sky by simply changing the levels of lightness and exposure levels which made the sky looked erringly stormy which I thought suited the colours than the grey sky (as the original weather was rather damp).  The image in the end had an interesting mix of light and shade on the walls and ceilings while the rest of the body had its brighter tones of colour within a dark stormy space which gave the image a haunting presence.


Image 2

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Outside Love image 5


The first vintage building photograph I chose to edit, had a number of copies being placed in certain compositions with the two bigger images being reflected off each other in the centre. The reflections worked very well as changing the colours felt rather unnecessary since the Marlowe Theatre images had bland tones of black and white on their elegant aspects forming their powerful shapes. The shapes on the older designs looked stronger once formed together in my eyes as the artist, the authenticity had its bondings with the weather (which eventually got brighter during the late afternoon). Overall this was a good addition towards the grid images I also made out of the images from the previous shoot with more consistent flow out of the classic materials.

Image 3

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Outside Love image 8

For this third image, I used the pink building beside the B&W (black and white cottage) and cut it out before stretching and placing it over the black and white cottage which then at that point, I merged the images together much like the process I developed with the swimming pool with the slight difference of two copied images used to cover over another image to create a funky image instead of something tidy. The images being merged in combination of hue and saturation being increased, the image overall completely changed the appearance of the vintage styled structures, the image was like a combination of silk screen prints which this retouch had a modern resemblance to the historic working processes of Robert Rauschenberg.

Collection, 1954/1955 Oil, paper, fabric, wood, and metal on canvas 80 × 96 × 3 1/2 in 203.2 × 243.8 × 8.9 cm


My Versions

My Development 



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Oustide Love Image 7V5

Final Version




The photoshoot around London was much better than Canterbury as the city was packed with materials in varieties of shapes forming many photogenic designs. Although I looked at historic buildings in Canterbury, the flow of this development was stronger with the modern shapes as they seemed the most questionable which created images just as beautiful as the first image I took in Ashford despite its colours, from here, I of course thought about colouring the structures of London also. The sky in some of the images had the same tones of weather that were in Ashford gave the subjects the correct and matching light which created a more consistent series.


Examples of Light and Tone



When colour editing, I turned up to mu uni as a tutor suggested I tried developing myself in the printing facilities. The room’s technician John explained software that would be beneficial for my retouching for the work by mentioning XRD Manager and i1Profiler which were made for compensating tones on my images so they would appear correctly in brightness on my laptops monitor which was essential if I wanted to print an image which I was aware of since I was developing towards that stage as a photographer.

The room had grey walls which John explained them being the colour for a reason, the reason was rather scientific but in basic terms, the colour was there to prevent monitor and human eye digressional detections which can sometimes negativity effect the printing process. The scanner in the image above shows an example of detecting colour in the correct space, by doing this process my monitor changed its brightness to the correct level so I would know what my images realistically looked like before being printed (if I was at that stage).

Outside Love image 12

An image from the London shoot having minor selections being changed and coloured to enhance the pattern


Screenshots of the editing process involving colour balance much like the Marlow Theatre’s process


Outside Love image 13


The process

For this image development, I had a different methodology as suggested by John the technician, he mentioned about the varieties of adjustments being located on the right side of the image which unlike the tool bar above was more carefully accurate retouch, as the selected areas which I had before accessing this area would automatically create layers in the “Layer” section which had a fairly better effect than the tool bar as the bar was more of literal edit without giving the software the professional time to think about the key details before changing them untidily.



Outside Love image 9V1
Version 1
Outside Love image 9V2
Version 2


These images had two version, the first version was enhanced saturation on the windows while the second version was having particular changes which visually correlated towards the blue and orange image. The editing process of this photograph was rather longer than the others since the windows had some reflecting smudged areas which I had to clean up with the healing brush tool. The healing brush tool in some cases was stressful to use as it wouldn’t clean up particular tiny details, so then I used the clone stamp tool for a more stronger retouch.

Blue Image development 


Purple Image Development (purple colour balanced areas)


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“Healing Brush Tool” Layers made for smudged aspects 






More images I found and later and edited in my London shoot 

By this stage, I had a coherent series of images with mixed colours with a plain white background allowing the colours to show as clear as the subjects they fulfilled. In the editing part, some buildings were not quite an enhancement since they still looked recognisable which so happened to have different colours in different areas which didn’t fit the abstract concept as the form of the structures didn’t have an illusional style to them. The structures that did work had rather unusual shapes which made the compositions more abstractly believable as the colours on them gave the forms a similar eye drawing experience that previous images had accomplished.

Another feature I noticed when looking at the series of favourite images I had was that the forms seemed to look like other objects such as a piano or a book. This change of objectivity wasn’t a barrier to me as the artist creating these unpredictable forms as I honestly thought it would be easier to show these to an audience and let them review these mysterious objects themselves rather than just the artist trying to make its spectators see one arguable meaning.

One of the images I had was of a curved building which I in the editing process carefully picked particular areas/tones to fill in with colour since the grey (with shades of blue) colour of the building reminded me of the backgrounds of Piet Mondrian’s abstract pieces.

My Preferred Images After Experimenting 

WTO image 18_DSC4839



After this interesting similarity during my editing process/development, I searched Google Maps for an initial plan of future shoots by accessing the 3D POV which revealed the buildings in certain areas around the city of London since London was a successful space for me in the last photoshoot, the 3D effect revealed not only the locations of buildings but the details of buildings that gave me a bigger clue to where abouts I would visit and develop myself as a photographer in his essential space for this project to develop well.

Google Earth screenshots of London and Westminster 

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WTO image 19WTO image 17WTO image 21WTO image 22


After having a consistent shoot in the space of contemporary architecture based in the city of London, I had been doing a variety of editing styles/development to push my work much further, I had a total of 5 styles including black and white which if theoretically worked then I would add it to the coloured photos to fit the everyday life expressionism I show in the series. At this point I needed to choose styles that worked ready for establishing my strongest images of the chosen styles and how I present them at the exhibition.


Hue and Saturated Images 


 Colour Balanced Images


Channel Mixer Images 


Black & White mixed with Colour Images 

Black & White Images




With my variety of styles and forms, I needed to think what would fit my creative genre. I came across some prints in the university that were very interesting to me since the prints were rather abstract looking boarders which fitted the works style. The formality of content had a relationship with the boarders which I found a good starting point for my architecture.


When looking at my images, I noticed that the structures needed to have composition similarities to each other as the mixtures wouldn’t work in terms of visual consistency. So by having similar compositions as well as shapes despite the mixtures of editing techniques I wanted to show an installation of architecture by expressing the multiple perspectives as well as their own forms.

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PowerPoint series of image display within a gallery template 


Foamex and ACM material 


These four images were the chosen finals as I found them consistent as a group of images, the presentation template showed the images in a layout from largest to smallest which eventually I planned the largest image to be A0 since it was the suggested size after informing my camera image sensor size. In the end, I had sizes from A0 to A3 which would present a style correlating to the thought provoking experience of the works presence. The recommended print materials were either MDF or ACM (Dibond), MDF was a cheaper development while ACM was the most expensive, after testing the materials I stuck with ACM as it supported the architectural genre along with a saturation boost for the coloured images.

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Presentation Template of final images in exhibition 

Testing the A3 image with MDF printing (before sticking the print with glue I coloured the edges of the wood with a black biro pen.


The ACM (Dibond) prints were mounted at print spaces in Kent, my choice was Omicron as there was one locally which developed their process very well. 

Research / 3rd Year


Campbell’s soup can 1962 (image from MoMA)

Andy Warhol was argued to be the most important artist of the 20th century, his worked had consisted in a vast majority of varieties within the media of art such as photography, fashion and film making. One of my personal favourites was the American artist’s series based on everyday life objects. Despite the character of Andy Warhol with a goal of introducing a more creative methodology of entertainment, the artist was particularly interested in forms of everyday life objects. The soup cans for example were presented in a commercial style, like if they were being put on the shelfs in a supermarket but with an artificial approach of simple investment in the structures flavours (metaphorically being their functionalities).

“In formal terms alone, Warhol’s art of the seventies and eighties followed general patterns of evolution from the lean austerity of the early sixties-ascetic in colour, sharp in contour, frontal and spaceless in structure”. Page 31, Chapter 4, The Right Place (The Founding of The Andy Warhol Museum) by Avis Berman, The Andy Warhol Museum: Copyright, The Andy Warhol Museum, Carnegie Institute (1993).

Andy Warhol, Green Coca-Cola Bottles, 1962




“Robert Rauschenberg has been one of the most innovative, prolific and influential artists during the past fifty years. The variety and volume of his production resists any categorisation, making a comprehensive retrospective an almost impossible undertaking both intellectually and physically. Despite the lack of Robert’s work being in the most famous art galleries, his work are still important aspects and periods being practically unknown to viewers and specialists alike”.

Introduction by Josef Helfenstein, Robert Rauschenberg: Cardboards and Related Pieces: Copyright Menial Foundation, Houston (2007)

Robert Rauschenberg was a theoretical developer in art, he was the kind of artist that would immediately establish another piece of work once finishing another, his work consisted in a variety of broken art rules which made Robert a pioneer within the art world (purely across America). Rauschenberg worked with an extreme variety of materials as well as media (in similarity to the development of Andy Warhol with a difference of taking the direction to a whole new level), the works have involved boxes, socks, umbrellas and many other sculptures being placed on his physical canvases for example, the complete randomness of composition and choice of the materials doing so, consisted in simplistic ambiguousness much like the entertainment of Warhol which Rauschenberg had personally worked with himself.

ANDY WARHOL (1928-1987) Andy Warhol and Robert Rauschenberg unique gelatin silver print 8 x 10 in. (20.3 x 25.4 cm.) Executed circa 1978. © The Andy Warhol Foundation for the Visual Arts, Inc.


One of Rauschenberg’s first works with this constant as well as consistent methodology, was the 1953 Automobile Tire Print which was an experiment Rauschenberg developed with a friend John Cage, who was a composer he met at Black Mountain College in North Carolina, a college specially dedicated to those who wished to break boundaries of art with the methodology of indisciplined classes with a variety of artificial mediums, this opportunity was extremely profound as Robert Rauschenberg within a society of his era during the 50s could feel like he could legally be himself as an artist, a master of non-conformers.

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Collection, 1954/1955 Oil, paper, fabric, wood, and metal on canvas 80 × 96 × 3 1/2 in 203.2 × 243.8 × 8.9 cm




Wolfgang Tillmans is a German fine-art photographer that has spent many years developing work that was distinguished by observation of his surroundings and an ongoing investigation of the photographic medium’s foundations. Like Rauschenberg, Tillmans was an unpredictable artist with such satisfying perspectives in the world’s culture of forms such as colourful fashion, nudes and still life objects. Once the photographs of everyday life were captured, Tillmans decided to take a step further during the editing processes, this direction was going towards other photographic techniques such as printing which brought an essence into his exhibitions by questioning visitors of what photography can be or how it can be reinvigorated.

Images courtesy of Andrea Rosen, New York


my little experimentation with still life in natural light inspired by Wolfgang Tillmans



  Orange: A series of my colleague Beth inspecting the work of Wolfgang Tillmans at Tate Modern 

During early 2017, I visited the photography exhibition of Wolfgang Tillmans at Tate Modern in London with some university colleagues, during this trip, I negotiated with one of my friends Beth about an idea. The idea was simple as I would casually photograph her while inspecting the particular works of Tillmans that had similar tones to her jumper. The photographs added new orange tones by mixing two inspired tones with the consistent combination of orange clothing as well as other photographic tones and materials that Wolfgang Tillmans himself had experimented on which I thought overall as a photographer was worth the approach as well as researching.




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In May of 2016, Coldplay released their album “A Head Full of Dreams” which included a song called “Up&Up”, this song had a music video which consistently had a variety of everyday life and solar systematic elements which were used in a video media collage style to create the audio visual for the song. The images down below showed me some inspiring examples which had also correlated with my idea of my favourite photographic developments of artificial computer editing and the subject of architecture in an abstract context. These particular example would be image two, three and four.


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Audio Visual Imagery is owned by Parlophoto productions


Heterotopia is a concept in human geography elaborated by philosopher Michel Foucault to describe places and spaces that function in non-hegemonic conditions. These are spaces of otherness, which are irrelevant, that are simultaneously physical and mental, such as the space of a phone call or the moment when you see yourself in the mirror.

Foucault, Michel (1971). The Order of Things. New York: Vintage Books.





Herb Greene: Prairie House 1960

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Eduardo MacintoshImagining Recovery 


“Polly Braden has become renowned for her documentary photography exploring the relationship between everyday life, work, leisure and economics. Searching for small and telling gestures her images are acutely observed portraits and broader assessments of contemporary culture”.

“These are offices built to look great in photographs.  Each new London landmark is launched on a wave of computer generated anticipation, reducing the public city to publicity. But in the end a city is not its buildings, it is its people and there is something salutary in the way Londoners fail to live up, or down, to the cosmetic gloss of their surroundings. Whether or not we wish to, we just don’t mirror these facades”.


Polly Braden: London’s Square Mile 2014




Mask XIV 2006 by John Stezaker born 1949

John Stezaker Mask XIV: 2006

“John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings”. The work of Stezaker shows quite a humorous addition in the emotional tones of the culture around him, a pioneer of the found photography movement which continues to this very day as the entertainment of modern media technologically generated and inspired millions who develop so passionately, that this movement occasionally becomes part of the second nature of humanity.




Zaha Hadid is arguably one of the best architects in todays’s generation, her work is often unusual or abstractly constructed into a variety of forms in many global spaces. My personal favourites had been stadiums as the structures have this character that ties with the activities within them, for example, the swimming pool inside the London Aquatics centre has a window in shape of a wave that correlates to the functionality of the sport.


London 2012 Aquatics Centre in Stratford UK



This publication theorises the interesting approach towards the abstract art style, the style was established around the 20th century and author Anna Mosynzka stated that abstract art “exists in varying degrees and forms. Some abstract art is abstracted from nature; its starting point is the ‘real’ world. The artist selects a form and then simplies it until the image bears only stylised similarities to the original, or is changed entirely beyond recognition”.

“Unlike portrait or landscape paintings, which are believed to represent the word, abstract paintings apparently refers only to invisible, inner states or simply to itself. It thus challenges the spectator and raises puzzling questions”, (such as its purpose).

I have notified this statement as I have experimented this approach with rather different materials, thus being a camera which has the ability to capture images which spectators would momentarily have the same experience as they would have when approaching an abstract art created out of paint or graphic design in terms of figuring the image out for some time. The interesting aspect of the work’s purpose is that it technically presents reality as cameras are the artificial tool that develops the ingredients of our lives and nature and the real world is often surrounded by shapes that question us rather ambiguously.

Mosynzka, Anna (1990) Abstract Art:  Thames and Hudson Ltd, London.


Piet Mondrian – Composition with Yellow, Blue and Red, 1937 (Left) / Composition with Yellow, Black, Blue, Red and Gray, 1921 (Right)

Piet-Mondrian-Composition-with-Yellow-Blue-and-Red-1937-Left-Composition-with-Yellow-Black-Blue-Red-and-Gray-1921-Right-Images-via-wikipediaorg-and-pinterestcom Outside Love image 9V2

Sam Gasson – Within the Outside / Image 4




Signs have been an important element of modern art ever since 1911 and 1912, when Picasso and Braque put stenciled letters and scraps of newspaper into their Cubist pictures. But Jasper Johns’s flag, map, and number pictures of the 1950s and early 1960s initiated a revolutionary transformation in the character of sign painting.





Peter Halley’s paintings were known for having the theme which introduced the Neo-Geo movement around the 1980s, this movement consisted in shapes having a two-dimensional presence which resembled the modern architectural structures we see publicly today.



Over the last decades, the terms ‘virtual’ and ‘virtual space’ have come to take an increasingly central part in our culture. They are recurring in fields as diverse as media, art, science, technology, philosophy, and architecture.

A virtual place creates its own ‘image space’, inside of which it is then located. The idea of virtual space is generated by the possibility of considering the accumulated local spaces of all virtual places as forming a single overall entity. Such an entity is obviously highly fragmented, since it is made up of count- less, separate, ‘possible visible worlds’.


The spirituality of the city spaces I witnessed expressed consumerism as well as the employment in which the functionality of these structures inhabited. This nature on the outside is just the cover of the book, which is generally a mystery until its doors are opened, the question is what is visually presented before the meanings explain within the outside?

the combination of these forms and colours present a virtual and abstract world that already existed within a consumeristic culture, a culture that constantly updates itself with an open variety of opportunities that we could access both physically as working colleagues and visually as photographers.




Scene from the movie “Blade Runner 2049”

Blade Runner 2049 is a 2017 American science fiction film directed by Denis Villeneuve, the futuristic themes including the architecture of Los Angeles in the film had some really interesting artificial styles as the shapes and colours brought in a new identity to the city despite its dark tones, the scene in the image above is my personal favourite as I was fascinated by the “reception like” room from its outside as well as its highlighted interior with its shaded in bright yellow artificial lighting.



Quantum Break by Remedy Entertainment and Microsoft Studios



Mirrors Edge by DICE & EA Games

 Video games in todays generation of computer graphics have had a huge impact in the gaming community as video games come across much more creatively satisfying than the usual point gaining platformers we had in the past few years. Mirrors Edge for example consists in surreal atmospheres by having white buildings having coloured highlighted areas or objects within areas guiding the player’s direction towards their objectives or destinations during the missions they play through the story/campaign. When looking at the two posters, Quantum Break has a similar style. The game is about two main protagonists who gain powers to change time after a science experiment goes wrong, the gameplay often changes its environment when the player activates the time powers making the space temporarily change into hallucinated dream like spaces by changing colours and crumbling textures into triangular pieces.


Mirrors Edge Concept Art 


Quantum Break Gameplay



Bernd and Hilla Becher. Winding Towers. 1966-97.

The Bechers were pioneers of the architectural theme within photography, their consistent series of industrial structures such as factories and water towers in a typographic display show a melancholic experience of a a dead world as we currently live in a world where these machines are distinct and defunct.




Although Walker Evans was known for his series based on The Great Depression, he has also taken his journalistic approach towards the buildings of New York, the composition were generally from the ground with an upwards point of view or out of a building window to present a structure’s point of view towards another face to face.

Scans of images I found in “Walker Evans At Work” book 


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Olafur Eliasson, colour activity house 2010 book scan

Olafur Elliasson as an architect has worked across many structures and how they can express their purposes with audience participation or experience. “By meditating peoples experiences, I wanted them to have an urban situation explicit and thereby hand over responsibility for how those people perceive and co-create their immediate environment”. The work Colour activity house consists in three free standing curved coloured glass presenting the three primary hues of the subtractive colour model which present themselves both through natural light and centred artificial light which constantly change as the public walk around it.