INTENSE-ive Production – Under Pressure

Further Video/Editing Experimentation:

I spent this week, finalizing the last stages of production within my project…

  • I have attempted to create the final edit of my accompanying video piece, using this as an opportunity to experiment with different framing/compositional structure within my video piece.  I have played around with different designs and structures.
  • The edit below (4 Square Test ) was by far the most problematic and confusing to put together,  and edit. Nevertheless, I put together a small extract that demonstrates this below…

Intensive Production | 4 Square Test:


Intensive Production | Side by Side Test:


Intensive Production Test | Top and Bottom

  • Following these processes of reconstructing and experimented with the different compositional structures and techniques and edits, and it became apparent that my original edit worked best (Standard/Reverse).
  • From this exercise, it also became apparent that these other edits including left/right + Top/Bottom, in reality; these edits actually worked against my overall intentions, detracting from the viewer’s overall experience and diverting attention away from my photography.
  • As part of the process, I took the opportunity to further test out these different edits amongst my peers and colleagues and they stated that the other edits detracted because, it was too disorientating to keep glancing up/down or from left/right and that in reality… looking and interacting with the piece, within a diagonal glancing movement seemed much more comfortable. Additionally, the diagonal composition allowed for some blank space to be left void around each video. This worked in a complementary format alongside my images, as it allowed the viewers necessary viewing or rest space form the intense and overwhelming auditory/visual stimuli in addition to providing space in which to critically reflect and contemplate the montage as a discrete creation.

Christian Marclay – The Clock


Christian Marclay’s video montage is a 24-hour installation that features film and TV extracts that depict clocks. As a body of work, “The Clock” has been carefully edited together so that it displays the actual time. It’s an installation that demands attention, that incites viewers to obsessively check the and exemplify the temporal synergy between this installation and the actual time. Here Marclay has adopted a skillful rendition that through the creation process required meticulous attention to detail and sustained determinism, that required selective and control house, filtering through and checking over heaps of TV and film excerpts.  Marclay has successfully extracted various sequences from a multiplicity of different films from different eras and genre’ s in a way that invites its audience to explicitly reflect and acknowledge the contemporary obsession with time. Each extract has been carefully reconfigured and remixed into a sequence that breaks free from any original sense of narrative. His use of existing imagery from many popular and mainstream films both acknowledges and invites each individual audience member to engage in reflection and nostalgia, sparking questions such as what film is that from? Where was I when I watched this? Is it really that time?.

Within my production, I adopted a very similar approach that utilized and appropriated material from existing adverts or commercial propaganda (ranging from old to new) that were deconstructed and reassembled to create a new sense of narrative, sparking a great sense of unease and building intensity in a way that is overwhelming. Similarly to Marclay, I have used footage and excerpts from popular culture, much recognizable imagery and some not. By converging both familiar and unfamiliar imagery, I have attempted to decode and make visible the blatant and obvious media langue that is used within capitalist propaganda. In addition, by using blatant and often cheesy footage, I have attempted to make the media language more accessible and understandable for a much broader audience. Similarly to Marclay, my construction also uses content from popular culture, thus inviting people to engage in a sense of nostalgia and personal reflection whilst also creating material that incites deeper critical reflection on capitalist modes of advertising and consumption as well as deep reflection on personal waste behaviors. Both my video piece and “The Clock” functions to provoke a visceral response, both through very different techniques…

Marclay’s “The Clock” build tension through the use of imagery on-screen and the subsequent truth0claim attached to his creation, provoking people to obsessively check and authenticate his its claim and function as an accurate keeper/signifier of time whereas in contrast, I make use of bricolage and layering within both my visual and audio piece working to layer and intensify sound and visual overload by incorporating quick edits, amplified sounds and over-saturated and over-lapping content that plays simultaneously. Because of this, for individuals, they may here some things other others, and this may vary from person to person and from instance to instance thus creating a very dynamic yet personalized experience that is engaging and critically and contextually underpinned.

Christian Marclay – Telephones

Similarly to Marclay’s piece titled “The Clock”, here “Telephones” utilizes small excerpts taken from popular films from a broad range in time and has experimented with the notion of time, narrative, and perception. Although, unlike “The Clock”, “Telephones” works to build tension in a different way. In this instance, Marclay builds tension directly through a reconstructed narrative that centers around the different stages of a telephone conversation.  I find Christian Marclay a particualrly influencial artist for his approach to creating seemingly “new” media through concepts such as montage, remediation, distantiation and bricolage as outlined by M. Deuze (2006).

Here is a brief selection of some of the images I am interested in using as part of my final composition… 

  • Over the last few weeks, I have been struggling with deciding how to situate my images in relation to each other…
    • After taking into consideration that fact that I have created an accompanying video/sound piece that will work in addition to my photography… I have decided so present my a selection of my best images within a large scale montage that intends to visually explore notions of scale, value, and narrative within a single composition.


Definitive Final Images…


Final Images Presentation| Photographic Montage…

Linder Sterling  – Photomontage

Linder is recognized as a British Artist and Musician that playfully experiments with the medium of photomontage as a way of responding to many critical issues and discourses. She was recognized as a figurehead within punk and post-punk circles for her early photomontages. Linder often used photomontage in a way that playfully examines issues around the representation of gender and identity as a means of creative expression. I find it particularly interesting how many early montage artists were concerned with the visual and metaphorical layering of multiple images and textures and a way of re-creating a hybrid image. Photomontages are historically situated as a response to many political and mainstream issues. Photomontages are also largely concerned with the politics of representation and the acknowledgment of material processes that are necessary as part of creation. Many early photomontages are centred around displaying and acknowledging edges and compositional structure and framing as a discipline, I find it really interesting that within Linder’s work her use of montage is quite clear and knowing in the sense that they are not creating a means to falsify or deceive but rather to invite playful reimagination of dominant ideological and political issues.


Kennard Phillips – Photomontage

Kennard Phillips uses his photomontage as a way of responding and reacting to political issues. “The work is made as a critical tool that connects to international movements for social and political change. We don’t see the work as separate to social and political movements that are confronting established political and economic systems. We see it as part of those movements, the visual arm of protest.” Represents and recreates ideology from popular culture and employes techniques such as satire and juxtaposition. I am particularly inspired by Kennard Phillips’ montages because of their aesthetics, the converging layers appear seamless and nearly somewhat realistic. Within my image montage, I intent to integrate my images in a seamless way that works to create a believable composition that will work to raise awareness and bring attention to discourses of value, scale, and narrative.

John Stezaker – Photomontage

Stezaker is a British conceptual artist that draws upon the appropriation of media and ideologies whilst incorporating conventions such as surrealism, collage, and photomontage. He examines the tensions between photographic truth and memory in relation to modern culture. John Stezaker skillfully juxtaposes images that are simultaneously conflicting and complementary. These act to function as a composition that invites critical reflection on compositional practices and the politics of representation.

“…coupling male and female identity into unified characters, Stezaker points to a disjointed harmony, where the irreconciliation of difference both complements and detracts from the whole. In his correlated images, personalities (and our idealizations of them) become ancillary and empty, rendered abject through their magnified flaws and struggle for visual dominance.”  (Saachi Gallery, 2017)

Unlike Kennard Phillips, Stezaker makes a very conscious and direct point, in the way that directly addresses the materiality and photographic processes that are involved in the construction of these conflicting yet harmonious creations.

Henry Peach Robbinson – Photomontage

Henry Peach Robinson is recognized as a pictorialist photographer that mainly centers around commercial portraiture through the medium of photomontage. Robinson focuses on the material essence of a photography physically deconstructs digital negatives and re-assembled them together by manually super-imposing them over the top of existing images. I find Henry Peach Robinson’s work influential because he makes a very direct and conscious attempt to seamlessly integrated these as to recreate a new and interesting composition. Similarly, to Henry Peach Robinson I plan to create a digital photomontage that will work to seamlessly conceal 6-8 images within a single composition that is largely comprised of an immersive and void-like black background.

 Consequently,  I have decided that I will situate 6-8 of my finished image within a large format montage that will take the form of a High-resolution glossy print. This will display my finished images within a single composition. This will work to playfully examine metaphorical, symbolic and physical tensions that explore notions of value, scale, and narrative within a single canvas. The size and scale of the montage itself is also an important consideration and I have decided to create a montage that is around A0 size (W:841 x H:1189 mm) as this size will work well to not only depict my original photographs well but this will also allow me to play with the actual real-life scale of my subjects in relation to its viewers.  Another consideration is that, when I describe symbolic and represntative displays of value and expense, I am only considering a single item [e.g. x1 kettle = £29.99 whereas VS x1 Tyskie can £ 1.27 (approx)]

I have decided to experiment and vary the scale and dimensions of my images/objects in a way that correlates with the items actual size/scale whilst also symbolically correlating with its monetary and symbolic value. For instance… 


*** Please Note: Full-Size Images will be available to view on either Google Drive or One Drive ***




Christcatilo (2011) Christian Marclay – The Clock. YouTube [Video]. 11 May. Available from: [Accessed 7th December 2017]


Tate (2017) Christian Marclay: The Clock [Online] Available from: [Accessed 7th December 2017]


Tate (2017) Linder. [Online]. Available from: [Accessed 7th December 2017]


Linder Sterling (2017) Wikipedia [Online] 29th October. Available from: [Accessed 7th December 2017]


Tate (2017) John Stezaker. [Online]. Available from: [Accessed 6th December 2017]


Kennard Phillipps (2017) Photomontage [Online] Available from: [Accessed 6th December 2017]


The American Museum of Photography (2017) Photographic Fictions: Montages, Multiples and Mischief: Henry Peach Robinson [Online] Available from: [Accessed 6th December 2017]


The J. Paul Getty Trust (2017) Henry Peach Robinson. [Online] Available from: [Accessed 7th December 2017]


Lalwani, R. (2017) Henry Peach Robinson, the Pictorialist. [Online] Available from: [Accessed 7th December 2017]


John Stezaker (2017) Wikipedia [Online] 25th October. Available from: [Accessed 7th December 2017]


Saachi Gallery (2017) John Stezaker [Online] Available from: [Accessed 7th December 2017]

Encyclopaedia Britannica (2017) Henry Peach Robinson: British Photographer. [Online] Available from: [Accessed 8th December 2017]


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