ways of framing

“Everyone is looking at pictures, but in such different ways, and with such varying degrees of intensity, that one begins to doubt whether or not they are actually doing the same thing. Ultimately, there are two types of viewers: those in the picture and ourselves.”

We don’t normally go to an exhibition to look at the people there, especially not to observe people who are merely looking at pictures – a situation in which we soon become entangled in a kind of tautology of their gaze being within our gaze.

 

One can say that in the museum, a kind of theatre is being performed, in which each of the visitors has its own role. The project thereby approaches photography as an "intellectual process" uses the camera as a tool to arrive at a better understanding of ways of seeing and to reflect on the routines of modern urban living.

001

 

Step 1: In the Museum

What are the viewers actually doing when they are looking at the paintings? Are they looking for information, or is their gaze simply resting, without focusing on anything? 

 

I intend to unravel the many layers of observation and to assess the participant’s gaze by first capturing visitors and viewers in carefully curated museum spaces – photographing the art and visitors viewing it and the viewer observing other audiences.

People in the painting who take no notice of those observing them, are completely absorbed in their own world.

2-2.jpg
2-1.jpg
2-3.jpg

002

 

Step 2: Outside of the Museum

How do we actively frame and navigate public spaces?

 

The city functions as a museum or playground backdrop for daily urban participants. In the second part of the project, I want to work with distance, to keep an open and innocent gaze, and to explore personal narratives of city-dwellers as restless wanderers.

 

Through a series of a diptych, the pairings interrogate the role of technology and other tools of framing like smartphones and cameras. 

5-man with phoneMan with Camera.jpg
3b.jpg
2-6_edited.jpg

003

Step 3: Inanimate Objects

Can daily encountered objects and urban spaces be framed through the lens of a museum?


The series ends with an examination of how we look at both familiar and less familiar daily objects. Combining what seem to be arbitrary details and mundane encounters shows us what we may have overlooked in our surroundings, and demonstrates how such fragments can spur surprising new meanings.

IMG_9948.jpg
3.png
5.png
Layer 2.png
Layer 1.png
Layer 0.png

Exhibition

Carpenter Center of Visual Studies at Harvard

The series of photographic work was later exhibited at Harvard University’s Open Studio Screening

 

To further challenge the agency of viewers in conducting their unique Ways of Framing, I incorporated a three-part interactive diptych flipbook series  – (1) In the Museum, (2) Outside the Museum, (3) Inanimate Objects. Visitors are encouraged to flip through the printed photos and create personalized pairings that inspire new methods of framing and viewing.

IMG_3566.jpg
IMG_7300.JPG
IMG_7293.jpg
IMG_3528.jpg
IMG_3603.jpg
IMG_3592.jpg
IMG_3625.jpg
IMG_3604.jpg

Through the photos of active observers, viewers are prompted to question their own participation in the completion of their surroundings, not as passive consumers but as re-interpreters.