In my practice, I have continued exploring the idea of scars as a vessel for memory, specifically focusing on an individual. Some main points of focus for this project have been:
1) Collaboration:
I have been working closely with Tira who is the subject of this work. Tira has been a friend of mine for two years. I knew very little about her scars or her history until recently when she volunteered earlier this year to be a part of my project. I advertised this online through social media to close friends in order to build on an established relationship of trust due to the level of vulnerability expected from participants.
After the last seminar, it became clear that I needed to have a deeper look into the individuals I was photographing to unpack their stories and tease out the connections they had to their scars. I decided to establish an open dialogue with Tira in my work, which was achieved by:
Regular discussions about research and concepts
Tira wrote a letter in response to the photographs with the intention of presenting it as an element of the overall work. Having the letter as a part of the work is significant in allowing Tira to have a voice in the portrayal of her body. This letter was handwritten and is a personal account of the memories she associates with her scars over time.
Titling of the work. We decided her name, Tira, would be a fitting title, as it means ‘To Journey’ in Māori, which reflects her personal experience with her scars.
2) Ethics of Care
From the feedback I was given in the last seminar’s crits, I realised that the approach that I described as a caring one was not evident in the work. I have been researching Ethics of Care (EOC) to establish a basic outline of what this would look like and how it could be applied to my practice.
Ethics of Care in Practice:
Persons are understood to have varying degrees of dependence and interdependence on one another.
Having a collaborative relationship with Tira, where she and I both have a voice in making the work. This will be visually represented in the work by having the letter present.
Individuals affected by the consequences of one’s choices deserve consideration in proportion to their vulnerability.
A written contract that outlined my intentions for the work, including the subject matter I would be discussing. This also allowed her to dictate whether she wanted to be anonymous or not and her level of involvement.
Details determine how to safeguard and promote the interests of those involved.
Some Research Links:
https://www.iep.utm.edu/care-eth/
https://en.wikipedia.org/wiki/Ethics_of_care
3) Visual Symbol of Care:
I have been researching how to reflect a caring approach in my work. This led me to investigate Native NZ Flora that was traditionally used for healing. Rongoā Māori is the traditional Māori healing system. This ancient lore, including plant use, massage, and incantations, has been passed down through many generations.
In traditional Māori medicine, ailments are treated in a holistic manner with:
spiritual healing
the power of karakia
the mana of the tohunga (expert)
by the use of herbs
With the help of Tira, we looked into native plants that were used externally to treat open wounds and cuts, such as Kawakawa and Kowhai. I have been experimenting with how I could include this element in the work. The reasons to incorporate plants like these are to:
1) Create context around my work and connect it to NZ
2) Have a reparative approach which I feel reflects Tira’s journey with her scars.
3) Plants have also been used as a symbol in art for the passage of time and are a consistent reminder of our mortality.
https://herbs.org.nz/kawakawa-fact-sheet/
https://www.tepapa.govt.nz/discover-collections/read-watch-play/maori/maori-medicine
https://www.healthnavigator.org.nz/health-a-z/r/rongo%C4%81-m%C4%81ori/
https://meaningoftrees.com/2017/07/24/kawakawa-piper-excelsum/
4) Material Experimentation with Polaroids
I have been experimenting with polaroids after doing some research about Catherine Opie and her practice. I felt particularly connected to the idea of a polaroid being the purest photographic representation of an event as it can’t be edited. Polaroids also seemed fitting as a material choice as they function differently from digital images and are often used as personal objects of memory.
(Catherine Opie: A World Beyond Selfies Interview) https://youtu.be/fhK44-3CTfs
This particular video also made me question how we look at images now in a digital age and what kind of space I will need to create to engage with others. I have been pursuing the concept of making a space that is intimate and allows people to engage at a similar level. This became influential behind the curatorial decision of presenting my work in archival wooden display boxes.