Identity photography essay

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Identity photography essay

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In this book I have set out many bodies of work that I have created over the last twenty-five years, whilst making my journey through the streets of Hackney, trying to make sense of this urban maze and find my way home. It seems strange now to think back to a time of sitting in the pub in Blandford, Dorset with my mate Fred and discussing our nights itinerary of catching the tube to Soho, going to the club, seeing some bands and ending the night at the Ritz.

All a complete fantasy, funny, but, as the bell rang for last orders at Later I walk past the Mothers Hospital, closed but now squatted, the facade of the hospital makes a statement of intent by the founders, the Salvation Army, a progressive imposing building built for the people of the East End but now abandoned.

Hackney is littered with veneers of a bygone era of grandeur and statements, interwoven with people washed ashore, mixing up cultures and architecture, creating worlds within worlds, showing glimpses of a life I never imagined whilst planting trees for the Forestry Commission in Dorset.

It is this mixing of cultures, architectures, people and histories that has so captivated me and held me in the arms of Hackney. Whilst my subject has always been Hackney the influences behind my art practice are found in the work of Johannes Vermeer, the Pre-Raphaelites and latterly a whole raft of art historical paintings.

This came as a complete surprise to me as a young upstart striving for social justice in a squat in Hackney.

Identity photography essay

While looking for a radical approach to my art I found revolutionary artists in the most traditional of art forms. I first came across the work of Johannes Vermeer in the library at the London College of Printing whilst doing my photography degree back in At the time we were trying to save the street from demolition and my eviction from taking me into another class of homelessness from that of squatter.

In the making of this work I began taking photographs on a large format camera, which produced 5 inch by 4-inch transparencies. These transparencies changed my whole notion of photography. On collection of these small windows and their placement onto the light box I was completely transfixed, as if I were a peasant from the dark and distant past transported from the fields of rural England and into a cathedral, to be mesmerised by the stained glass windows with the sunlight pouring through these heavenly portals.

Colour and light became key to the way I looked at my neighbourhood, seducing me and taking me into a kind of meditation about my life, my way of living and the culture that surrounded me.

Once these transparencies were installed in the model, which was lit from within, my whole street became a kind of cathedral to our neighbourhood, where I could meditate upon my life. Showing this work to my tutors for the first time gave them thought for me to look back at the work of the golden age of Dutch painting, which drew so strongly on light and colour.

At this point I was an incredibly keen student aged I had left school at 15 with one CSE and was not considered capable of taking O levels, so I went to work on farms and building sites, for the Forestry Commission and eventually as a tree pruner in Regents Park.

I went straight to the library to investigate the golden age of Dutch painting. After a number of books I came to Vermeer and it all clicked into place. I was transfixed by his use of light and colour and taken again into that magical state of meditation.

As I read into the artist the more I became intrigued and inspired by his life and his practice as an artist.

Identity photography essay

I wrote my appraisal of my degree show and quoted the golden age of Dutch painting as an influence and the paper was consigned to the filing system of a squatted abandoned house in East London. My life took another turn and I set out on a double-decker bus to Europe to put on free parties and festivals and revel in the chaos of techno music and open roads.Tom Hunter ‘The Way Home’, In this book I have set out many bodies of work that I have created over the last twenty-five years, whilst making my journey through the streets of Hackney, trying to make sense of this urban maze and find my way home.

Construction of Identity Through Photography. Print Reference this.

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Her work depicts a young Islamic woman wearing a burqa and explores issues related to culture and identity.

This A* CIE A Level Photography project was completed by Freya Dumasia of Macleans College, Auckland, New attheheels.com achieved 92% overall for A Level (89% for AS) and was awarded an Outstanding Scholarship for NCEA Level 3. Her work depicts a young Islamic woman wearing a burqa and explores issues related to culture and identity. `This impressive and timely collection of essays addresses the significance of cultural identity as social phenomenon and provides an insight into a number of new approaches for unfolding its complexity. Photography Essays Photographer Comparison Essay: Cindy Sherman and Omar Diop The following study will analyse and compare the contemporary photographers- widely known for their conceptual portraits- American Cindy Sherman.

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