As a consequence of writing my recent post about visual heuristics and their importance for me in describing, clarifying, and developing my thinking, my thoughts have turned to the contribution of my research:

https://www.wildreflections.photography/uncategorised/defining-elements-of-my-photographic-practice

The aim of my research as explained in my thesis was:

“To develop a photographic praxis for uncovering the ephemeral reality of Being beyond the immediate representation of visual presence.”

 In my previous post, I referred to four key heuristics that have become the cornerstone of my practice, which I term Object-Oriented Photography (OOP):

The Recursive Loop – A Practice-Led Research Model (2021)

Dimensions of my Practice (2022)

The Ten-Signifier Onion Diagram (2021)

Object versus Subject-Oriented Photography (2023)

These heuristics evolved through my practice and research, with the Recursive Loop and the Ten-Signifier Onion Diagram being developed before and during my upgrade to PhD, and Dimensions of my Practice and Object versus Subject-Oriented Photography later as I brought my thinking together in my thesis.  The use of the visual heuristic as a tool was explained in my previous post and emerged out of a wish to clarify my thinking, whilst at the same time explaining the key elements and contribution of my practice-led research to others.  At the same time, however, and as a consequence of many years working in universities, I was cautious about the extent of my contribution to the wider research context.

For example, with a few months of distance, I can see more clearly the heuristics provide a framework for the pillars and key features of my work and satisfy my research aims to develop a photographic praxis that, on occasion, moves beyond representation to reveal a glimpse of a normally hidden world and essence.  Through the articulation of the Recursive Loop, I have engaged in intense reflection, enabled by the joining up of the classic linear model of ontology, through epistemology, methodology, method, and practice.  And rather than seeing ontology and practice as opposed and disconnected they become joined in continuous recursive feedback and reflection.  The BAR Diagram develops the reflective model further through reflection on Being, Action and Reflection on Being and Action as a continuous process.  Similarly, the articulation of the drivers of my practice through the Ten-Signifier Onion Diagram and Object versus Subject-Oriented Photography models provides the opportunity for others, who might be seeking an alternative to Subject-Oriented Photography, to use my heuristics as a guide, as a starting point for their journey to allure.  My practice and methods, I would argue, possibilise the realisation of Being.  Furthermore, the use of signifiers in the Onion Diagram enables others to ascribe different meanings to the constructs more appropriate to their photographic style and priorities.

My photographic practice has changed as a result of my research.  Rather than being driven by intention and focus, my work in the field has evolved and become a non-conscious and intuitive practice where space is reduced, and the temporal world is suspended.  An intense sense of awareness, dwelling and zonal flow is entered for a short while where the camera becomes a part of me and exerts its unique characteristics as an instrument to capture a moment when the sensory world is transcended.

My practice has also led me to a deeply entangled world where Being is not only singular but also plural in nature.  Allure is the sense of the entanglement exposed in my images and the deep connections between objects whether human or non-human.  Rather than Being aware of Being as a linear connection with the lone silver birch tree as the subject, my work exposes the deep connections, non-local and implicate – a real world beyond sensory perception, for the most part, hidden, but in a continuous world of superposition, of revealing and concealing.  A world in which others might choose to dwell too.    

 

Alison Price

Alison Price

My name is Alison Price and for the past ten years I have travelled the world photographing wildlife, including Alaska, Antarctica, Borneo, Botswana, the Canadian Arctic, Kenya, Rwanda, South Africa, Zambia and Zimbabwe.
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