The work during week 11 sharpened the focus on the forthcoming project proposal. The webinar was an opportunity for a group therapy session where we all expressed our growing anxiety and uncertainty about the assignment. Gary, our tutor, challenged us to consider who the audience is for the work we’re proposing to create in the weeks and months ahead.
Now, I haven’t previously given much thought to the identity and needs of the audience (I know that’s not the first time you’ve heard me say that during this module!) and there were certainly some heated discussions amongst the group, with some arguing that they’d rather create work to satisfy themselves rather than aiming to serve an audience at all. I was of the same view to begin with, but having considered things further I have to concede the importance of considering who my audience might be, and how best to reach them with my work. To ignore the audience entirely seems disingenuous, engaged as we are in this effort to create photographic work of a high standard, which none of us are intending to keep solely to ourselves. So, we must therefore concede something to the audience. After putting great effort into creating the work it seems logical to try and expose this it to as many people as possible in the way that it can be received in its best possible light. Only once you’ve accepted the need to acknowledge the audience can you identify it and position your work accordingly.
A draft image for the 'work in progress' portfolio
Gary reassured us that not being able to identify the audience at this early stage is ok, as long as we keep this in mind as a target for the medium to long term, and certainly by the time we come to plan our final projects at the end of this MA. For me, thinking about audience is all part of the necessary change in mindset that I’ve been challenged to make since starting this course. Till now I’ve just taken photographs, with no real intention to speak of. For sure there have been themes that I’ve tended to return to, and I have found fragments of audience here and there, but this has happened without any forethought or strategy. I am starting to look at the process of putting this proposal together as a really important exercise in structuring and sharpening up my thoughts on my work and it’s really forcing me to take a critical approach to my own practice. This can only be beneficial, and once you view the proposal in this light it suddenly seems like a great opportunity rather than an incredibly daunting task that I’m not equipped to complete.
As I start to set down draft thoughts for the proposal, I’m finding that the best way to approach things is to try to answer specific questions rather than trying to shape these vast themes into a coherent argument. How on earth do you neatly summarise ‘urban solitude’? It’s basically impossible! Questions like ‘what am I trying to say?’, ‘what do I want the outcomes to be?’ help me to drill down to the crux of the topic and make things more manageable. I now feel more certain that I’ll be able to articulate my thoughts, at least in a preliminary way, in time to submit the proposal and can then build on it moving forward. I’m sure shooting more will also help to refine my ideas, and that’s something I must place more emphasis on as this module fades into the next.
Falmouth university ma photography critical research journal