• Andy Whysall

Developing my FMP

Updated: Aug 1, 2019


For the first day of our final semester, I worked up a Final Major Project progress presentation suggesting work looking at how our surroundings can illustrate aspects of memory, based on pictures I made on film in summer 2018, at the same time as I was shooting The unreliability... in digital. The material so far I am seeing as a build-up to an idea I’m calling Message ends. The intention is to ultimately show how vulnerable and ethereal photographs are – by destroying them. But the build-up shows how memories fall into decrepitude, are buried, decay, with little chance of recovery. The French photos use semi-dereliction to (I hope) illustrate that.


Andy Whysall, memories for Message ends, 2018


I can’t deny that I’m struggling to thin my ideas down for an FMP into something self-contained. It seems to take up most of my free brain-time. Do I stick with the memory theme? If I do, how far am I going to abstract it? And how am I going to exhibit it? I’m arguing that the French pictures represent how things in everyday life can represent memory, can promote memory and can actually be memories.


I explained in a tutorial how I wanted my FMP to be totally immersive and how I was planning to use images printed on fabric to force visitors to brush their way past them to get to what will probably be an AV event. If it’s going to go that way it needs some decisions about how the images will appear on the fabric. I’m also thinking technicals, notably whether an AV would be on a monitor wired to the laptop or whether it would be projected. I looked at Bill Viola, at the Yorkshire Sculpture Park 2017 and in Venice in 1995 with The veiling.


Bill Viola, The veiling (1995)

Then there’s Tomislav Pavelić , also in Venice, this time in 2012 with his Unmediated democracy demands unmediated space.


Tomislav Pavelić, Unmediated democracy demands unmediated space (2012)

And various others...


Jillian Marie Browning http://www.jillianmariebrowning.com/a-performance-of-gender-in-three-parts


Nicolette Brunklaus https://www.nicolettebrunklaus.com


Christian Boltanski http://www.huma3-archive.com/huma3-eng-reviews-id-867.html


What would the hangings be? I want them to feel oppressive and I have been looking at some phone shots I took in frozen, bare woodland. I have made them black-and-white and processed them to appear ‘pinhole’ or ‘Holga’-like.




Whether this idea is going to work (or even go ahead) at the moment I can’t say. I like it a lot, but in terms of what I want to convey I don’t know. Ultimately I’m trying to illustrate photographic theory (notably Roland Barthes and his thoughts on memory, time, death, metaphysics). It boils down to the basic principle that the photograph is a piece of paper with some marks on it, or some acetate with a dye pattern (or, for that matter, a sliver of silicon with electrostatic charge). If I head towards the destruction of these images, the photograph remains in the memory of those who have seen it. Those who have not seen it are non the wiser.