3.1 Lost on the way to Zennor

St Ives in Cornwall is a location that I have visited frequently for different projects in the course of my OCA degree. In particular for courses at St Ives School of Painting.

In this project I explore the ways in which tourists separate in groups, and also as individuals, when on holiday in search of a ‘romantic wild’ of the coast path.

My body of work in Assignment 5 builds on the text and image work from:

Part 2 : Text and Image: Woman Living Lost.

Sketchbooks

Lost on the Way to Zennor: Photobook

This project revisits the photographs and text used in:

Exercise 2.1.3 ‘Lost on the Way to Zennor’

Here I did a collaged sketchbook inspired by Rebecca Solnit’s ‘A Field Guide to Getting Lost’. But the collage and iPad work was experimental – pushing things too far and so rather heavy-handed.

In this Photobook I revisit my original photo series of my walks along the Coast Path from St Ives Ayr campsite to Zennor, converting these to black and white photographs of varying tone, contrast and abstraction. Drawing inspiration also from the black and white landscape photography of Fay Godwin and Paul Hill’s ‘White Peak Dark Peak’.

I am aiming to let the images speak for themselves through their black and white tonal processing, differences in focus and detail. As an evocative documentary about the ideal and the realities of the Coast Path.

I put a two page text at the end to briefly explain what the book is about. But after the viewer has already – hopefully – looked through the images to form their own impressions and ideas of what the book is about.

This still needs a lot of work – with careful consideration of when I want the photographs to be ‘professional and when possibly to let the stay too dark, too light or blurred. from the version sent to my tutor. And reviewing the sequencing and narrative, certainly reducing the number of images but possibly also adding/substituting others from the photo series. Starting with a similar process of alternative narratives based on the creative prompts as in the Bridge Edgelands work, but just using black and white. In order to really clarify the narrative options and threads.

I am also intending to use selected images as black and white images in physical media: charcoal, pencil, ink, scraperboard, drypoint. And produce a concertina walk sketchbook in one of these media. This would provide a prototype of some of the work on ‘sustainable landscape walks’ I am planning for Sustaining Your Practice.