“The more possessive we are of our things, the more possessed we are…”
Prasad Boradkar, in ‘Designing Things’.


“The memory is altered in the absence of the original stimulus, becoming less about what you remember, and more about you.” from Proust Was a Neuroscientist By Jonah Lehrer.

The photograph as a container for/of memories seems to be a theme throughout my work to date. I have always been excited by the visual outcomes of using my Grandad’s traditional camera, and felt fascinated by the links to family and history. I have explored subjects and ideas that have presented themselves this term, and always it leads me back to wanting to document surfaces. Traditional photography offers me a way to select compositions and objects in a much more controlled manner than I do with digital. Whilst I use digital images purely for recording, so nothing is lost, traditional photography, although somewhat restricted by my lack of knowledge, seems to give me far more in the way of describing the surfaces I am fascinated by. The photos go beyond purely the physical, and lend themselves to the discussion of several of the themes I have been looking at. Photographing fabric is interesting as the surface of the fabric becomes smooth in the object of the photograph. The reality of fabric in photographs is that there is no tactile sensation; removed from the ‘real’ into the surface of the photograph, all we have is a memory of the tangible surface.

My use of photography has become increasingly important to me this year. The mixture of blur and focus resonates especially well with the idea of memory and traces. I began exploring the theme of The Yellow Wallpaper when I began translating the pattern into a frieze (length of wallpaper) to break out of my sketchbook. The pattern from the fragments of fabric that sparked this project are also a wallpaper print, and I began exploring paper as a medium for layering and cutting into. I started to feel the need to move away from the pattern, as I felt swamped by it; however, even when starting to explore patterns from inspiration in my garden, the ‘Madura’ pattern still crept back in. My final photographs are of a section of wallpaper, layered with pattern and cut. The use of photography as a final outcome links the work to the notion of not only memory- the fade and blur of the lens, but to the idea of a family photograph album, scraps and fragments of memories.