This week after chatting with friends I’ve come to a place where I think I am finally able to make sense of the work I’ve been creating. I’ve been drawn to the idea of decay and death and how death and life are interconnected. I’ve also been intrigued by the beauty in decay and the idea of life growing even in the darkness. I’ve also been thinking of how, as something starts to decay, wither and die something new will eventually grow from it and a new iteration of life begins.

I originally had linked these ideas to motherhood, and how my daughter’s life brought into perspective the cruel passing of time and the mortality that accompanies it. However, there seemed to be more going on than I could put words to but I had a deep sense that what I was making was somehow right and valid and the meaning would come.

It was over the weekend that I realised that the work I’ve been creating has been an unconscious expression of the events taking place in my life. It always seems to be the case that my body, or my subconscious at least, processes things more quickly than I can think them through and it seems to be what has happened with my WIP this term. I am in a period where many significant parts of my life are either about to come to an end or are in a process of transitioning and changing into something new. Changes which should have happened a couple of years ago but which the pandemic seriously delayed. The darkness and decay are very visual representations of those two years when my life felt stuck and stagnant and also the place where something new was able to take root and grow.

Hélène Cixous

Writing the Desire that Fire Bore: Emergent Motherhood in Hélène Cixous’s The Book of Promethea

The book of Promethea = Le livre de Promethea : Cixous, Hélène, 1937: 

RINKO KAWAUCHI AS IT IS – book walk through

The visual poetry of Rinko Kawauchi

There is a method of composition and construction of the image commonly known in the visual art world as “visual haiku“. Where “haiku” is a minimalist form of poetry, of meditation on facts that happen in everyday life and its visual counterpart is a subtractive operation of the elements within a frame.

In summary, to capture the essence of the moment, you need to reduce the subject to simple forms.
And that’s what contemporary photography by Rinko Kawauchi is based on, a form of visual poetry that focuses on ordinary things but in constant search of the sublime every day. Kawaguchi’s work, first lady of Japanese photography, is a simple mix of nuances and compositional mastery capable of arousing wonder by highlighting details and a subtle use of natural light.


Rather than setting out to explore a particular theme, topic or idea, Kawauchi creates her images instinctively, reacting to what she sees in her surroundings.

Utatane by Rinko Kawauchi
Illuminance Rinko Kawauchi
Rinko Kawauchi – Aila
Asli Oezcelik – Waiting For The Sun To Shine

Tabitha Soren

Laura Blight – working with dust

Ilya Fisher – FMP

Taylor Smith – Working with Transparencies, living photographic images generated by photosensitive bacteria

Carl Victor Wingren

The premise of this project is to let the mycelium literally consume my photographic work. During a period of several weeks the mycelium is cultivated together with the photographic prints and added substrate in order for it to gain mass. The mycelium alters the structures of the paper resulting in a sculpture-like shape. Through offering images as food for the mycelium the work is transformed into its subject matter. The title of the work refers to the hyperdigital mash up of images being glued together by the mycelium into a uniform cluster.

I reached out to other students to ask for recommendations of artists/research to help me get on top of the critical report aspect of my work. Below I’ve documented the responses, some of which I won’t have time to fully engage with this module due to time limitations.

Hiroshi Sugimoto – seascapes and the passing of time and long exposures of cinema theatres.

Alison Rossiter

Expired paper to look at traces time has left.

Awoiska Van Der Molen

images of no particular time or place.

Henri Bergson – Philosopher – Time

The foundation of Henri Bergson’s philosophy, his theory of Duration, he discovered when trying to improve the inadequacies of Herbert Spencer‘s philosophy.[45] Bergson introduced Duration as a theory of time and consciousness in his doctoral thesis Time and Free Will: An Essay on the Immediate Data of Consciousness as a response to another of his influences: Immanuel Kant.[46]

Kant believed that free will (better perceived as The Will) could only exist outside of time and space, indeed the only non-determined aspect of our private existence in the universe, separate to water cycles, mathematics and mortality. However, we could therefore not know whether or not it exists, and that it is nothing but a pragmatic faith.[46] Bergson responded that Kant, along with many other philosophers, had confused time with its spatial representation.[47] In reality, Bergson argued, Duration is unextended yet heterogeneous, and so its parts cannot be juxtaposed as a succession of distinct parts, with one causing the other. Based on this he concluded that determinism is an impossibility and free will pure mobility, which is what Bergson identified as being the Duration.[48] For Bergson, reality is composed of change.[49]

Lisa Baraitser – Enduring Time

Baraitser, L. (2017). Ending. In Enduring Time (pp. 179–188). London: Bloomsbury Academic. Retrieved July 13, 2022, from

Deborah Levy

The Cost of Living