The final piece will feature images of private space that require close attention, and 'reading' to unravel what is being depicted. As the scenes have personal/emotional resonance i've got the bit between my teeth at the moment to try and figure out how to welcome an audience into the images and make sure they understand what is shown.
I'm reading this at the moment to try and get a handle on using text in conjunction with images and how an image is read;
Morris, W. (1999) Time Pieces: Photographs, Writing, and Memory, New Jersey: Aperture Foundation Inc.
Some key points so far include the idea that the practice of reading images rather than simply looking, is an integral part of its rise. This apparently began in earnest during WWII when aerial images were closely examined and a textual/vocal explanation provided. All pretty interesting.
Another point to fall out of the early sections that can be seen as justification for using text in conjunction with my work relates to the notion that few things observed simply by one individual can be considered 'seen'. For a wider meaning to become incarnate, text can be used to anchor.
"The multifaceted aspect of reality has been commonplace since cubism, but we continue to see what we will, rather than what is there." (Morris, 1999: 4)
My images have definitive things to say regarding a person's life experience so it seems prudent to provide some kind of clarity via text. I'm keen to avoid misinterpretations when dealing with family loss, trauma and my brother's home.
During the early sections of the book there seems to be a hint that since the advent of photography, words have been seen by some quarters as surplus to requirements. It strikes me that this may could be argued as a crucial oversight by society, although there is a line to be identified between support and spoon-feeding.