Just thinking last night that the mandalas could easily be turned into cross-stitch patterns, in the style of Diane Meyer. http://www.dianemeyer.net/projects.html. There is something very attractive about the merging of two arts which use the same basis for their production (fabric square/pixel). I have a piece of software that will transform an image into a cross stitch pattern, so it is a possibility. Just not sure I can spend the time making the actual work. It takes Meyer many hours to do each image and I am sure I am slower than her.
However, this has the side effect of making each image no longer replicable, which removes it from the genre of disposable photography into something else. I need to look into the different ways in which photographs have been made unique, not because I want to sell anything, but because I am interested in the materiality issue of image making.
(On a technical point, I have been wondering how to produce the formal gridwork of holes in the photographs, and reckon that it must be done on a light table with a fabric or paper grid underneath the photograph. I tried it and the photo paper was too thick, so decided to print a grid and then prick the grid holes over the photo using that).
Here’s an example of my recent thrush mandala, and the cross stitch pattern I have generated for it.
P2P-6223166 cross stich thrush mandala
The software I used was the free pic2pat one which can be found at https://www.pic2pat.com This is a great tool, as you can choose all sorts of elements of the final piece, including size, stitches per inch and number of different colours used. One could embroider the whole thing (which would take me years) or pick out a section/sections to do in the same way as Diane Meyer. A further possibility is to use my gold thread to expose some of the patterning.
A fellow student, Stephanie referred me recently to a paper on the archive which was an interesting overview of the questions I had been considering at the end of Context & Narrative. It is a surprisingly fascinating read, and the link is attached below.
Some scholars have argued that the archive functions for the humanities and social science disciplines as the laboratory functions for the sciences. Both the archive and the laboratory are sites of knowledge production.(27) Pushing this analogy further, sociologist Thomas Osborne proposes that we think of the archive as a “centre of interpretation,” similar to “courts of law, psychotherapeutic encounters and departments of the humanities.”(28)
As Hayden White has forcefully argued, transforming archival data into historical narrative is a subjective act.(43) The writing of history always requires the intervention of a human interpreter. Moreover, according to Michael Lynch, “the archive is never ‘raw’ or ‘primary,’” because it is always assembled so as to lead later investigators in a particular direction.(44) Because there is never sufficient archival material, Carolyn Steedman goes so far as to declare that the historian’s craft involves the ability to “conjure a social system from a nutmeg grater.”(45) For these reasons, Steadman contends that “historians read for what is not there: the silences and the absences of the documents always speak to us.”(46) (Manoff, 2004)
Secondly, I watched Rachel Smith’s lecture on The Materiality of Images, from the recent OCA Photography Symposium, held in Doncaster. It was a highly academic deconstruction of whether and how analogue images differ from physical photos, and what these differences might be. Given that I am currently interested in the concept of the physical photograph and how it can be altered to add meaning, this lecture is of great interest to me. Smith’s work is very much at the academic end of photographic study, and a look at her web page shows that her work is cross-media. She is interested in the idea of materiality in all sorts of arts media. I will keep this lecture in mind to inform my own work, which is more at the creative end of the spectrum.
Manoff, Marlene. (2004) ‘Theories of the Archive from Across the Disciplines.’ In: Libraries and the Academy, 4 (1), pp. 9–25. [online] At: http://uwf.edu/dearle/capstone/manoff.pdf (accessed on 26 May 2016)