54 Last Lunches
Audrey’s isolation. Lockdown. 2020
Notes on the Final Version
The Tutor raised two questions regarding my presentational choices for Assignment 4. He preferred the colour version and he questioned the inclusion of the first and last images within the grid. He felt that the sofas, whilst perhaps relevant to the story, spoilt the aesthetics.
Having considered his comments I decided to change to the colour version but not to remove the sofas. Here are my reasons.
The use of colour
My original intention for the work and the choice of black-and-white was, in the style of the Bechers, to show similar images with the subtle differences highlighting changes in the circumstances within the house. I originally felt that colour was distracting.
However, having printed both versions of the image and looked at them for some while I decided to change to the colour version because it is more interesting. It is clearer. The differences are what create the story and they are more obvious, particularly when printed on A3, in colour.
I suspect I might change my mind if I had the opportunity to hang them as individual images with a gallery – in the style of Warhol.
In his feedback, my Tutor directed me to an essay by Rosalind Krauss called ‘Grids’. In it, she discusses the differences between centrifugal and centripetal grids. Essentially the difference between these two ideas is that a centrifugal grid can be considered a small part of an infinite continuation. Whereas a centripetal grid is self-contained within the frame. My image is not intended to be a centrifugal grid, it is a discrete story with a beginning and an end. The use of sofas punctuates the story and can therefore be contextually justified. In my opinion, their importance warrants their inclusion within the photograph despite the possible adverse effect on aesthetics.