During my second research visit to Thomas Tallis school I was very fortunate to have the opportunity to observe an artist, Dafna Talmor working with year eleven and thirteen photography students. Dafna’s recent work entitled, Constructed Landscapes is described as consisting of:
staged landscapes made of collaged and montaged colour negatives shot across different locations that include Israel, Venezuela, the UK and USA. Initially taken as mere keepsakes, landscapes are merged and transformed through the act of slicing and splicing. The resulting photographs are a conflation, ‘real’ yet virtual and imaginary.
Dafna Talmor: Constructed Landscapes
Dafna explained her current practice to both groups, adapting what she foregrounded skilfully. Big questions arose about the value of the art and whether it was original or authentic. Challenging the students to question what is meant by these terms, Dafna suggested that in her work she explores the idea that ‘a photograph is supposed to represent something truthful.’
I observed Jon and Dafna working together to move the year eleven students quickly into trying out the splicing and slicing techniques. Armed with scalpels, found slides of holidaymakers and landscapes and light boxes the students embarked on a process of assembling which was clearly captivating. Resources such as pens, paint, nail-varnish remover, tape and typex were also used to make marks and add colour and texture. What I found especially fascinating was the way in which the affordances of the process pushed the students to continue to think about these questions, by challenging their creative routines. The use of found images in slide form shaped what they were able to do in very productive ways.
I watched as one student spent the entire three-hour session, creating her composite slides without ever seeing what they looked like in the slide projector.
I watched other students make tiny adaptations and then view their images before developing and refining them further. The projectors became a site of dialogue where teacher, researcher, artist and student shared responses to each image, images that could only be seen once projected on the back wall of the classroom. It was impossible not to get drawn in to responding to the students’ work as it surprised both them and us. They grew bolder in their choices and took more risks creating images that were dark, surreal, eerie and irreverent.
One student, who was previously preoccupied with the monetary value of Dafna’s work, became adept at meshing bold colours in geometric designs with the ghostly figures of holiday makers hovering in the background.
Jon reflects on Dafna’s visit as part of a thought-provoking wider programme, including his response to the Tate summer school here.
My field notes were fast and furiously written as I observed this rich, dynamic process. As Pat has reflected in a previous post, I wanted to get ethnographic and join in more! Yet, watching the students looking, seeing and assembling in an intuitive way, creating images over which they had to relinquish some element of control, was compelling. The work was underpinned by the Threshold Concepts Jon and a colleague have developed for Photopedagogy which emphasise ideas in photography such as chance, context, abstraction, technology and time.
Interestingly, although the students had experimented in their assembling they ‘just knew’ when they had an image they liked. This led to powerful discussions – ‘Why? ‘What worked?’ ‘What didn’t?’ Jon had to push the students hard to move beyond ‘it just does’ and in doing so we could see tangible developments in their ability to make critical observations of the form and content of their own work.