James Elkins

What photography is (a return to Roland Barthes’ Camera Lucida)

The article ‘What photography is’ has a sense a mortality through the narrative of resemblance of photography seen in non-humane circumstances.

Furthermore, Elkins believes that ordinary portraits have something to do with the unfocused, subjects such as death. Throughout this article of ‘What Photography Is’ in the discussion on death has allowed the growth of literature in photography industry. The visual documentation and storytelling throughout this narrative allows the images to be bigger than oneself. For example, in the subchapter ‘too full of light’ it suggests that the light and darkness plays a role in creating an emotional reaction allowing us to draw subjectivity. 

What photography Is, helps me in particular, to understand an opinion on how memories and time allows the image to connects to a moment in time in the fleeting nature of life whether there is good or evil. And from there, the article shows us the vulnerability of sharing personal yet crucial stories of our past.

The image below captures the essences of the article in the sense that the archival images throughout what photography is and the delicacy of the moment of dark and light. Although I am unsure of who the photographer is, I do know that it is from the subchapter ‘too full of life’.


Huxley Parlour Gallery Exhibits

Venessa Warship

‘the seasons’

The narrative of ’The Seasons’ shows us the viewer the fragility of winter across different countries and the difference between dormancy and hibernation. Furthermore, the traces of hope in the arid scenes of life. What spoke out whilst visiting the Huxley Parlour Gallery is the minimalist set up showing the images stillness in amongst the chaos. 

In conjunction to this the photographs show an understanding our environment and how we take advantage of the unknown. With this in mind, this could help me with my project as the exhibition shows a narrative of contrasting themes including peace and time, stillness and chaos. 



The exhibition ‘Cut’ looks at archival images and sculptures to portray the brutality of the state of Congo in the 1980s, where Onyangunga predicts around 10 million people died.  This was during the reign of Belgian King Leopold II.  Moreover, the red hand sculpture represents a reference to the native people which symbolically shows the punishment of teared limbs through not meeting rubber harvesting quotas.

With this exhibit it has shown me alternative ways of finding your authentic self whether it is for better or worse represented metaphorically through art such as sculpture and photography. It has also reminded me how engage with your audience by making my work more interactive. This could be through colours or different mediums for example


Lara Cappelli

Cappelli’s project floral line shows the family archives in order to bring awareness to rediscover the many women icons within her family. Furthermore, she begins looking at her archival images of her mum and great grandmothers, however, as an artist Lara wanted to juxtapose the femininity by using flowers which represent strength and resilience.

This then led into the idea of reconnecting with each women who participated in the recreation. I believe that the narrative shows the exploration of women hood, memory and the familiar faces in the everyday.

In conjunction the floral line project shows us the viewer that the idea of memory is not exclusive to one individual but the effects of a family experiencing the same moment collectively. This  shows us that a perspective from a feminists point of you in defining her own identity as a strong independent women in the 21st century, when opinions are somewhat more welcome than previous years.

The images below shows the narrative clearly: as the nature represents fragility but the colour represents strength. This is  why I believe it is a fitting image to accompany this recent overview of the talented photographer Lara Capelli.

Using Format