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RAE 2008

Rearch Assessment Exercise 2008

Mick Williamson

visit Mick Williamson's website

Research Outcomes


Outcome 1 - Photographers Gallery Print Room Exhibition
In this exhibition I showed twelve framed silver gelatin photographs, selected by Zoe Bingham, Print Gallery Manager, from The Photo-Diaries of Mick Williamson project
The aim of this project is to create a sustained enquiry into the processes of recording, documenting and celebrating the daily and everyday transitory events that form our everyday lives.
The group of work shown in this exhibition focused on the domestic interior.

portfolio


Outcome 2 - The Photo-Diaries of Mick Williamson, Gallery On exhibition
In this exhibition I showed five framed, and six unframed silver gelatin photographic prints from The Photo-Diaries of Mick Williamson project. The work selected for this exhibition focussed particularly on the phenomenon of temporality as an unbroken sequence, as a means of re-examining and critiquing Bresson’s "Decisive Moment" ideas.
"The images act as partial, gentle fragments which invite an attentiveness towards the everyday, the non-glamorous. They are gentle, non-insistent images which provide a welcome antidote to the demanding, spectacular environment in which we are distracted by demands to achieve or be entertained. Instead, Mick’s images offer a mode of viewing which is closer to the act of contemplation." (Siobhan Wall, LIP Magazine)

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Outcome 3 - The Photo-Diaries of Mick Williamson, Hug Gallery exhibition
In this exhibition I showed eight framed and 32 unframed silver gelatin photographic prints from The Photo-Diaries of Mick Williamson project.
The aim of this project is to create a sustained enquiry into the processes of recording, documenting and celebrating the daily and everyday transitory events that form our everyday lives. The work shown here concentrated on the poetics of the single image.
"Photographers often pride themselves on their ability to capture the decisive moment. The work of Mick Williamson however purposefully shuns the key moment, preferring instead to focus on what might be constructed as the missed opportunity. The impression left on the observer is in fact one of continuity and duration. There is no moment, only before and after the event. In other words the photographer is directed to capturing the entirety of the event. The image is then seen to be standing in for a continuous sequence and may be likened to the medium of film." (Addie Vassie)

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Outcome 4 - Paul Trevor Eastender Archive - London Metropolitan University Collection
This is a collaborative, interdisciplinary work with colleagues Jenny Harding, Dipti Bhagat and Susan Andrews as a team of editors of a digital archive of 220 images by photographer Paul Trevor representing the lives of local East End communities in their distinctive social, economic and political contexts, during a period of rapid social and physical change from the 1970s to 1990s. This will be complemented with oral testimony and images and stories made accessible to local communities, students and academics.
The project team is necessarily engaged with a number of interesting questions. What are the aesthetic, historical, and social dimensions of creating a photographic archive and how might these be related? Which factors contribute to the construction of a photographic archive as a relevant resource for public history and/or academic inquiry? How can aesthetic and social/political discourses work together to achieve this end?

portfolio

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London Metropolitan University
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