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Making space: photographic traces of absence, stillness and the in-between in public spaces
My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within...
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| Format: | Thesis |
| Language: | English |
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Michaelis School of Fine Art
2023
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| _version_ | 1867613209240797184 |
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| access_status_str | Open Access |
| author | Fraser, Nicole Clare |
| author2 | Josephy, Svea |
| author_browse | Fraser, Nicole Clare Josephy, Svea |
| author_facet | Josephy, Svea Fraser, Nicole Clare |
| author_sort | Fraser, Nicole Clare |
| collection | Thesis |
| description | My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within the broader context of photography and architecture, looking specifically at the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975) and affiliated photographers to highlight ideas about photographically documenting built structures. The visual language of the deadpan aesthetic is an important aspect of my work, and I elaborate on and explore “neutral” and “objective” ways of seeing. I consider a selection of photographers to establish various ways in which imagemakers use a formalistic photographic approach to communicate narratives through the representation of built structures. I expand on a phenomenological approach to making images, exploring notions of tenderness, care, alienation and violence. In the second section of the document, (Dis)Locating my Practice and Making Space, I position myself within the identified terrain to further explicate my practice and project. The physical project takes the form of silver gelatin handprints, larger inkjet prints and a video projection, and I discuss the method of display and curation of the exhibition and how they motivate ways of looking, slowness and intimacy. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/37199 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:32:29.432Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2023 |
| publishDateRange | 2023 |
| publishDateSort | 2023 |
| publisher | Michaelis School of Fine Art |
| publisherStr | Michaelis School of Fine Art |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/37199 Making space: photographic traces of absence, stillness and the in-between in public spaces Fraser, Nicole Clare Josephy, Svea Inggs, Stephen Fine Art My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within the broader context of photography and architecture, looking specifically at the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975) and affiliated photographers to highlight ideas about photographically documenting built structures. The visual language of the deadpan aesthetic is an important aspect of my work, and I elaborate on and explore “neutral” and “objective” ways of seeing. I consider a selection of photographers to establish various ways in which imagemakers use a formalistic photographic approach to communicate narratives through the representation of built structures. I expand on a phenomenological approach to making images, exploring notions of tenderness, care, alienation and violence. In the second section of the document, (Dis)Locating my Practice and Making Space, I position myself within the identified terrain to further explicate my practice and project. The physical project takes the form of silver gelatin handprints, larger inkjet prints and a video projection, and I discuss the method of display and curation of the exhibition and how they motivate ways of looking, slowness and intimacy. 2023-03-03T11:10:14Z 2023-03-03T11:10:14Z 2022 2023-02-20T12:45:50Z Master Thesis Masters MFA http://hdl.handle.net/11427/37199 eng application/pdf Michaelis School of Fine Art Faculty of Humanities |
| spellingShingle | Fine Art Fraser, Nicole Clare Making space: photographic traces of absence, stillness and the in-between in public spaces |
| thesis_degree_str | Master's |
| title | Making space: photographic traces of absence, stillness and the in-between in public spaces |
| title_full | Making space: photographic traces of absence, stillness and the in-between in public spaces |
| title_fullStr | Making space: photographic traces of absence, stillness and the in-between in public spaces |
| title_full_unstemmed | Making space: photographic traces of absence, stillness and the in-between in public spaces |
| title_short | Making space: photographic traces of absence, stillness and the in-between in public spaces |
| title_sort | making space photographic traces of absence stillness and the in between in public spaces |
| topic | Fine Art |
| url | http://hdl.handle.net/11427/37199 |
| work_keys_str_mv | AT frasernicoleclare makingspacephotographictracesofabsencestillnessandtheinbetweeninpublicspaces |