Heartening to get positive feedback and pointers for development from Wendy and Jessie. The main issues to think about were:
- getting the scale of the project right, and making sure it is achievable in the time available. For me, that means that I might not include the work done in all the micro-projects. Whilst they will all contribute to the development of the process, the images produced may not feature in the final edit.
- thinking carefully about the audiences for the final images and how best to disseminate and present the work. We discussed Wendy Ewald’s use of posters and billboards in the ‘Towards the Promised Land’ project, and similar forms of public engagement. One example of this form of presentation are the images that have been displayed on the hoardings around the Ford plant in Dagenham while it is being demolished. These prints of the car plant interior are printed on plastic and screwed to the hoarding inside a frame. A similar form of display could be used for the Shed Life work.
- making sure that full consent has been obtained, and that participants are fully aware of their part in the project and what will happen to the outcomes. This requires me to produce a clear description of the project and to obtain signed permission to use the images. This has to make clear that the work will not be used for commercial purposes, but can otherwise be quite open in use of the images. It should be made clear that the images may be manipulated in some way, and links be given to some indicative work.
- the output could be a ‘fiction’ of some sort, like Grayson Perry’s Ballad of Julie Cope, and the accompanying tapestries (which bear resemblance to montage).
- making connections for future practice and engaging with organisations that produce and commission similar types of work (for instance, Grain).
Grayson Perry, Julie Cope’s Grand Tour https://www.craftscouncil.org.uk/what-we-do/julie-copes-grand-tour/
Wendy Ewald, Towards a Promised Land http://wendyewald.com/portfolio/margate-towards-a-promised-land/