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College of Arts and Social Sciences COLLEGE OF ARTS AND SOCIAL SCIENCES Research School of Humanities and the Arts SCHOOL OF ART & DESIGN ART AND DESIGN HIGHER DEGREE BY RESEARCH DOCTOR OF PHILOSOPHY ODETTE SHERIE ENGLAND Intimate Past & Present Light: Using Photography to Investigate Self-Defining Memories A THESIS SUBMITTED FOR THE DEGREE OF THE DOCTOR OF PHILOSOPHY OF THE AUSTRALIAN NATIONAL UNIVERSITY FEBRUARY 2018 © Copyright by Odette Sherie England 2018 All Rights Reserved Declaration of Originality I, Odette Sherie England …………………………………………… hereby declare that the thesis here presented is the outcome of the research project undertaken during my candidacy, that I am the sole author, unless otherwise indicated, and that I have fully documented the source of ideas, references, quotations and paraphrases attributable to other authors. Word count (abstract and main body text only, excluding footnotes and endnotes): 27,927 ACKNOWLEDGMENTS Loving thanks to Hepburn England, Brett England, and Helen and Colin Elix. I am indebted to my panel for their intellect, stamina and patience: Denise Ferris, Anne Brennan, and Rowan Conroy. Many friends, peers, colleagues and students provided advice, support, and ideas for my work. Thank you for your generosity and candor. This work transpired thanks to early seeds tendered by the following people, in alphabetical order: Debra Balken Stephen Beckett Adrian Davies Gregory Donovan Ann Fessler Christine Garnaut Daniel Harkett Steve Janssen Douglas Nickel Susannah Radstone Steven B. Smith Anne West Additional special mentions: Darren Ching Debra Klomp Ching Dalia Linssen CJ Taylor Thank you to Cynthia Allegrezza for proofreading and editing the exegesis (Standards D and E) per the Guideline: Editing of Research Theses by Professional Editors. This research is supported by an Australian Government Research Training Program (RTP) Scholarship. ABSTRACT This practice-led research project investigates the relationship between autobiographical memory and photography. My research question comprises two parts. Firstly, how can I mediate the virtual space between myself, as both the maker and as the subject of my practice, to the viewer? Rather than communicating autobiographical specificity, how to emphasise the malleability of personal memories, using the photographic object as metaphor, so that a viewer may experience some shared nostalgia for the ‘lost’ past. Secondly, to what extent can the separation of self occur, from being ‘fixed’ in a snapshot and ‘semi-fixed’ in memory to being ‘present’ in the studio? I initiated this project from my preoccupation with self-defining memories of intimate relationships. I began with my ‘self’. These memories provided a means of confronting my research objective: using photography to manipulate them. This research reflects the need to address through photography the plasticity and transferability of memory’s hold on the present. To do this, I reworked personal snapshots and memories through material and sensory encounter. To help make way for a viewer’s bond to form with my work, I needed to dissolve and rework my bond with personal snapshots and memories. This was key to bridging the intangible space of my past. I produced several series of photographs, contextualised by Endel Tulving’s hypothesis of chronesthesia (mental time travel) and Henri Bergson’s theory of recollection recovery. Through conception and execution of reworked photographs, I occupied a distinctive space as a maker/subject. This space, which I have termed prepositional space, allowed me to ‘unfix’ self from snapshots and memories to be present in the studio. This makes way for a viewer’s bond to form. I argue that prepositional space is a significant new methodology for artists and viewers to assess their encounter with such photographs. TABLE OF CONTENTS LIST OF FIGURES ................................................................................................................ 1 INTRODUCTION ................................................................................................................ 5 CHAPTER 1: METHODOLOGY and FOUNDATION WORK ......................................... 9 Chapter Introduction ............................................................................................................................ 9 Exploring Past Selves ............................................................................................................................ 9 Experimentation I: On Objects of Intimacy .......................................................................................... 13 Experimentation II: Temporarily Yours ............................................................................................... 19 Experimentation III: Excavations ....................................................................................................... 28 A New Space ........................................................................................................................................ 40 Summary ................................................................................................................................................ 42 CHAPTER 2: CONTEXTUALISATION ........................................................................... 43 Chapter Introduction .......................................................................................................................... 43 Roland Barthes: Camera Lucida and ‘Flat Death’ ............................................................................. 44 Guy Archard: Almost ........................................................................................................................... 47 Bill Morrison: Decasia ........................................................................................................................... 52 Summary ................................................................................................................................................ 57 CHAPTER 3: RECONTEXTUALISATION and NEW WORK ........................................ 59 Chapter Introduction .......................................................................................................................... 59 Chlorophyll Printing ............................................................................................................................ 59 Slow Companions ..................................................................................................................................... 64 Presentation and Display .................................................................................................................... 76 Key Insights: Chronesthesia and Recollection Recovery .............................................................. 83 Recovering and Relearning ................................................................................................................. 84 Photographic Subversion I: Encaustic ............................................................................................. 87 Photographic Subversion II: Rose Petal Collages .......................................................................... 92 Photographic Subversion III: Layering and Cutting ...................................................................... 95 Artist Book: Here Is Where We Meet .................................................................................................... 98 Summary .............................................................................................................................................. 103 CHAPTER 4: THE IRREPLACEABLE AUTONOMOUS PAST/PRESENT ............... 105 Chapter Introduction ........................................................................................................................ 105 Lumen Printing .................................................................................................................................. 106 Re-encounters .......................................................................................................................................... 106 Unendings .............................................................................................................................................. 116 Summary .............................................................................................................................................. 123 CONCLUSION ................................................................................................................... 124 BIBLIOGRAPHY ................................................................................................................ 128 Works Cited ........................................................................................................................................ 128 Additional Reading ............................................................................................................................ 132 LIST OF FIGURES Fig. 1. Crashes #5 from the series Crash Markers (2005-2008). C-print on Dibond, 36 x 48 in. Fig. 2. Without Me #8 (left) from the series Photos of Me Without Me (2011). Snapshot, hand-cut, mounted onto photo rag, 17 x 22 in. Fig. 3. IX from the series Self Diagnosis (2011). Pigment print, 8 1/2 x 11 in. Fig. 4. Develop Before 10/1990 from the series Develop Before (2014-2015). Pigment Print, 24 x 24 in. Fig. 5. #20 from the series Attentional Landscapes (2007-2008). Digital C-Print, 35 1/2 x 35 1/2 in. Fig. 6. Undated snapshot,
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