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03/01/24 Conversation with photographer Edward Wright who I met at TFL's LPO

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03/01/24 Conversation with photographer Edward Wright who I met at TFL's LPO

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extended bibliography for Critical Practice Project specifically covering images referenced

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extended bibliography for Critical Practice Project specifically covering images referenced

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Printed onto matte recycled paper on an inkjet printer then stapled together

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I altered the title for the final outcome as I wanted my voice, position and intentions to be clearer whilst leaving room for a level of ambiguity with hope that will entice the reader to continue reading the publication.

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I then proceeded to meet Christine at the address at 11:30 that day. I took part in an interview with Michaela a member of staff who has been part of the lost property team since the late 80s and seen them move between three locations.

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3 sentences:

What I am considering at this stage is accumulating objects and reference materials, as many as I can possibly get. Visiting other parts of London or achievable parts of England may be good for this exercise. Then I will categorise what I have found so far to find links between objects.

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Communication with Transport for London directory for press before this week to organise the visit and give context to my being there.

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Communication with Transport for London directory for press before this week to organise the visit and give context to my being there.

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Harvard referencing Bibliography for  Personal Archive

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Harvard referencing Bibliography for  Personal Archive

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The research into each religion is referenced in my bibliography. And in the caption of this post

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The research into each religion is referenced in my bibliography. And in the caption of this post

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Das, V. (2017). Araikasu Amman – The Goddess of Lost Things. [online] Vijaya Das. Available at: https://vijayalaxmidas.wordpress.com/2017/12/28/araikasu-amman-the-goddess-of-lost-things/ [Accessed 20 Dec. 2023].

Kirby, B. (2013). Some people have a knack for finding lost items. [online] The Augusta Chronicle. Available at: https://eu.augustachronicle.com/story/opinion/columns/guest/2013/01/26/some-people-have-knack-finding-lost-items/14467045007/ [Accessed 20 Dec. 2023].

CATHEDRAL, N. (2021). Article: St Anthony, Patron of Lost Things | Newry Cathedral Parish. [online] newrycathedralparish.org. Available at: https://newrycathedralparish.org/2021/06/17/article-st-anthony-patron-of-lost-things/#:~:text=Anthony%20of%20Padua%20is%20one [Accessed 20 Dec. 2023].

Burkeman, O. (2002). Lost and found. The Guardian. [online] 13 Nov. Available at: https://www.theguardian.com/technology/2002/nov/13/usnews.g2 [Accessed 4 Oct. 2023].

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Responses to the forms of making and how they have helped me develop, whilst analysing and revising how the methods have helped my practice develop and reflect on the work I was making at the point I conducted the making.

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Responses to the forms of making and how they have helped me develop, whilst analysing and revising how the methods have helped my practice develop and reflect on the work I was making at the point I conducted the making.

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This is a list made of forms of research I have conducted, this list has been expanded, evidenced in my continued process on this Padlet as well as in my publication and through both respective bibliographies. I have looked at many theorists since then. 

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This is a list made of forms of research I have conducted, this list has been expanded, evidenced in my continued process on this Padlet as well as in my publication and through both respective bibliographies. I have looked at many theorists since then. 

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1. The visits to the municipal spaces allowed me to capture the images of objects that are documented on this Padlet, which led to the evolution of images used, redrawn and adapted inspiring the final images chosen in the C.P.P.

2. Charity shops represent the same level of opportunity and have although not made it into the main points of my argument a few images captured over time in some of these have been included as backgrounds in my publication, explained and identified in the first draft analysis 'Week 15' section.

3. (*8) My interest in visiting the Lost Property Office began after the footnotes session with Daryl where I found an article (Haynes, G. and Godwin, M. (2017). Missing in London: inside TfL’s lost property office. The Guardian. [online] 28 Aug. Available at: https://www.theguardian.com/cities/2017/aug/28/inside-transport-for-london-lost-property-office.) This had me interested in the possibility of visiting TFL's lost property as part of my research.

4. The research conducted around Transport for London's Lost Property Office has led me to communications, interviews and photographic documentation of the spaces. It also by chance led me to meet Edward Wright whose interview I conducted I aim to focus on when continuing in Unit 10. What I learnt from actively making interview questions recording the conversation with the staff and writing transcripts aided me when creating my script which at that point I didn't know. The images I was able to capture there also aided me in making my activity sheet and coming up with my initial idea at that point for a catalogue of lost things. I was also heavily inspired by this visit when developing the label for my Interim show submission and in turn the eventual making of objects I hope to continue with in the next Unit.

5. Hudek. A, The Object, 2014 - This was a brilliant recommendation that I read and analysed intensely. Through the publication I was able to discover, Jane Bennet (5), Ante Majewski, Issa Samb as well as a variety of other theorists that provided great reflection on my criticality and position on this topic. Before I had come across this book and the series of Journal on Material Culture, bot references in the bibliography. I had set my role around that of collector and presenter of objects. Since developing my knowledge and looking into wider teachings on material culture and practices around objects in various cultures, I had not considered myself a storyteller or investigator. I felt my role developing throughout this process with my overriding role being that of the caretaker, over objects as a concept. I aim to develop further through further research into sculptures of objects in Unit 10.

6. The project undertaken by Joshua Glenn and Rob Walker as well as all the writers that were involved, are cited in my bibliography (Glenn. J, Walker. R, (2010). Kangamouse by Chris Adrian | Significant Objects. [online] significantobjects.com. Available at: https://significantobjects.com/2010/02/08/kangamouse/ [Accessed 30 Oct. 2023].) it was a project where writers were involved in developing stories on bought objects to go besides items being sold at auction to raise their worth. I find this project fascinating and an idea that greatly inspired my initial catalogue concept and subsequent activity sheet. However, the criticality and room for learning through research and making whilst providing an argument through a sense was not fitting of how I had hoped to conduct that catalogue. Therefore, I wish to develop the idea of fictionalised stories behind items as an influence on a reader's and viewer's opinion on an object as an experiment in my I.P.S. presentation.

7. The book Transfiguration: Man-Made Objects as Demons in Japanese Scrolls. Asian Folklore Studies, (Lillehoj, 1995) cited in the bibliography. Has been a catalyst for a new playful direction in my work. This book, specifically pages cited in my C.P.P inspired the research into Tsukumogami the folklore of transfigured objects, using this as my inspiration guided by all my making at that point and respective other research conducted I developed the script concept, which evolved into the audio, subsequently a cartoon then an essay and finally the visual essay it has led up to. The way this has inspired me to feel out of a rut through my process felt important and something I didn't want to dismiss which is why it is cited and directly used as inspiration in my imagined conversation pages. I am really happy with how this has developed and expanded my process.

8. *

9. The book by Diamon Norm, was evaluated and commented on in my sketchbook and cited in my Personal Archive bibliography. (Diamond, 2016) It has served as a great inspiration to how I have captured and considered the objects and stories behind the objects. Although the backgrounds of my images are ambiguous and not as directly sombre as Diamond's subject matter I think there is loneliness captured in his work that is imbued in the items without knowing the context of the work. You can tell they have been part of people's lives in the same way as the items I have captured and the fact they are not directly interacting with people delivers this sense of stillness and bleakness. It has been a great indirect inspiration to my process and has inspired me amongst other research and making to explore the silent stories behind objects in my next Unit. Developing these sentiments from photo to sculpture.

10. (Shapton, 2009) This book was part of my very initial research it led me to want to explore the stories behind the objects people want to rid themselves of. The rigid format is something that led me to develop my idea of a catalogue. However, this idea did not feel engaging or critical its purpose was unclear. What is strong about Shaptin's book is the story she builds through the items and the people and relationships built in our minds as readers. We are handed this great heartbreaking story through a format that ordinarily wouldn't invoke this level of storytelling or emotion. Reflecting on the true strengths of this allowed me to move past the visuals and delve deeper into my research to bring out my voice, argument, criticality and position in the pieces of work I went to make. It is not a unique reason for my results but an important part of this process.

11. The exhibition I visited at the Tate on Philip Guston's work featured images explored in the respective week, this led to responses made by me through drawings based on images I had thus far collected. At this point I felt I had to begin sketching or drawing anything but the silly sketches around my book and seeing Guston's work helped me make a start of responding to material visually that I hadn't practised in the same reflective way at that point apart from the editorial simulator workshop. However, the language created in those sketches and the tone of the pencils used felt naive but exciting and led me to develop drawings when reflecting on that work later on in the process that I included in my final Critical Practice Project.

12. Finally my involvement not only in the curation team but equally aiding Anthony Burrill's exhibition although very different experiences was extremely helpful in developing my testing visuals to suit respective purposes. The utility of design in a space to reflect the subject, research or desired effect that unifies a space or piece. I believe I unknowingly used these experiences to aid in my approach when considering the aspects of engagement and visual, written or oral communication I had experimented with throughout this process. The role as curator has played a larger part in my process than I initially expected but I have been pleasantly surprised by how it has aided my judgement. I hope I can harness this role in Unit 10 through the outcomes i will present in the exhibition.

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A list of forms of making I carried out throughout this project, discussed in previous weeks through various forms of making. Put into numbered bullet points and expanded upon below

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A list of forms of making I carried out throughout this project, discussed in previous weeks through various forms of making. Put into numbered bullet points and expanded upon below

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Ode to previous research using the visual metaphor of the cart pushing bags of items to suggest the items with in are themselves being moved on. This image was taken by me and is part of my TFL images series on this padlet, I had not directly mentioned this image or that part of my research in this project as it did not serve the objective of my position and argument around this subject in a concretely useful or challenging way. I decided it can serve as a middle spread mirror for the title, a visual bridge to the following section.

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Page 13, left, approaches the subject of moving on from objects giving examples of rituals that follow this in East Asian traditions and positioning these rituals in a day to day setting. Understanding that these rituals are precious and particular for a reason they are not applicable to all forms of moving on from items however my aims here are to position the person reading to consider how to part with their objects in a way that is mindful of the object's value and identity as well as being conscious of the effects negligently wasting an object has on the cycle of waste that is a huge part of contemporary capitalist culture.

Page 10 is a continuation of the ideas aforementioned in the last page. Applying visible mending in a way that is engaging and positioning the audience to consider how they too can use their own intuition when it comes to caring and mending the items under their care.

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Page 9, left, is a continuation of intuitive mending, with a close up of the figure referenced in the text, bib and shown on previous page as a background, direct context. Here using the example of two episodes form the self filmed series by David Lynch (referenced in publication bibliography) I am able to delve into the levels of intuitive mending in place. clear in the pants repair video and definitely from a more knowledge based approach to adapting the paint cabinet that he works on in the other video, referenced in that publication Bibliography as well as the bibliography added to this padlet. It has allowed me to use my research into accessibility and means when approaching object care and attempt to offer further examples of how intuitive mending can lend a hand in mending with little need for knowledge, in pant repair video example. How the care and research is accessible through media we are freely able to consume as well as our own length accessed through intuitive methods of mending. Using what we have at hands in our knowledge, materials and ability to adapt that when caring for our items. Which I have acknowledged is not always a possibility but this sentiment is given further hope through light examples such as the pants repair video, (Lynch. D, What Is David Working on Today?, [film] 2020)

Page 15, right, offers a continuation on the subject of moving on from our items using storytelling as well as research to entertain the scope of possibilities with our approaches to moving on from items. Giving examples of how people do that and providing an illustrated figure as a metaphor for passing the items on to the next owner whether direct or indirectly. This figure is cited in the publication bibliography.

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page to left, 16, used past example as a bridge on the idea of there being an excess of items that are unused to begin discussing the items that we find in a home and what that can tell us about the people that may have last had them, an opportunity for my to bring back story telling as an engaging tool to disperse the text being theory and research heavy and aid in asserting my position as storyteller and researcher in this publication. The page to the right, 8 , is a development from the Kintsugi page and a title page of sorts using a figure referenced in the text on pages 9, 10 with bibliography reference in the publication also.

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The page on the left, 7, follows the conversation between person and object, developing the options and rituals of mending and the concept of restoring object wholeness which is key to my position through this argument. I give other more common examples of mending as well as practices found in East Asian of Kintsugi, where I provide (Figure cited in the bibliography) of one of my ceramic objects which I have edited to mimic kintsugi as a visual demonstration, complimenting the material discussed and offering a visual of this practice for readers who might be less familiar. I think is is an exciting opening to some examples of mending and I have discussed how not all methods are accessible and the restraints within the respective areas for various reasons. Thinking critically about the research I have undertaken a presented through the publication. Considering the methods in actuality on a base level to develop further through the next examples I go into on intuitive mending. featured through pages (8, 9, 10) of the publication.

Page 17 is a continuation of a specific example of objects aid in forming connections through the research I have thus far conducted. The image serving as a background to create a more engaging display, featured in images collected section of padlet.

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page 17 to the left accompanying the previously mentioned shell page as a more research based presentation of how we affect objects we encounter and the histories and identities of objects, I decided those two pages would be an effective pairing as they offer a balance of research and storytelling that is aimed to make the position and argument less academically inaccessible, which is something I wished to avoid as my experiences when joining group seminars with Hayfaa and Luise I found many of the texts we engaged with a challenge in engaging with due to the walls built around academic language and the roles that has in halting access to those from less advantaged backgrounds with struggles to the same levels of education as those writing that material. I wanted to stand around that area but not pose as inaccessible. This would not aid my position either or aims for this piece as I hope it allows those who read it to consider the content mentioned and how they may be able to apply its sentiments in their own lives and towards their own objects and effects when it comes to object consumption and waste. This would be less achievable if my language hindered the scope of people that would be able to access the ideas of the language.

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Page 5 on left, is half of a double page spread that came out as a development of the initial script I had written which I wanted so desperately to include in the publication. I think the way I included it matched the visual tone of the rest of the publication without feeling like a gap or an accidental insert. It is informed as an extension of the section ' Cultivating Care' that features on the page before it'. echoing the idea as a bridge to the next subject being that of mending. The section from the script lead us to discussing mending which is why I felt it would aid as an engaging visual and complimentary bridge to the previous and following content.

The page to the right, page 18, developed on the page that is before it in the publication. I t allowed me to play into my role as storyteller as well as caretaker and investigator. Using my own ideas of nostalgia with hopes the reader may relate and using an image from the very beginning of our project, with the trip to dungeons as an ode to process which I care about greatly as a creative.

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the page to the left I had created an image (referenced in the publication bibliography) to demonstrate the idea I had suggested of the importance of finding space for objects within our own spaces. The space being purposeful and the act as a ritual. I feel like placing the objects in a dollhouse felt an apt representation of this ritual as well as an image that is recognisable. The care involved in play and toys that the dollhouse represents. A return to childlike activity with an adult developed and informed more caring mindset towards objects we would ordinarily not regard with identity or importance.

Image to the right echoes in part the principal aims of my argument with Care at the centre of what I believe needs to be nourished as part of Western practice. Although I could've developed this further I didn't wish for the medium to be overpowered with text and hope that the points I have included and the overall tone, theories and examples explored reflect my perspective as caretaker, investigator and translator of the research I have undertaken and my position on the issue of the connection people have with objects under their care as well as objects they find in the Western world.

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Page to the left I included another image from (King's Emporium, Margate, 25th Nov 2023) taken by me but used as a background. I had at this stage used numbers for each separated subject however realised this had no use as I did not create an index, this being a publication and visual essay of sorts but not a traditional dissertation. This is similar with the image to the left I used the photo as a background however the image is a found item I then photographed in my home to demonstrate the place it holds within my space with our directly referencing it as a figure.

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the bibliography I had created was unclear, unreadable and included material I had taken out or not developed that would be needing citing within the publication. There was a great need for refining and improvement. Another issue was my citing and Harvard referencing in the page in the right I had used '[]' instead of '()' as I hadn't written an essay like this in past. This was an important lesson learnt in detail as I needed to make my citing thorough to avoid misunderstanding.

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Formatted in this way as this is how I had to arrange them so that when they would be printed the right page would be next to the correct page 

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The 1st and last page of the publication

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The 1st and last page of the publication

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the introduction presents an invitation and glimpse of what is yet to come. I wanted it to feel like the reader is invited to continue and engaged with the accompaniment of illustrations based on objects I had found and recorded (images collected, Padlet) (Fig.1, Publication cited in publication bibliography). I ended on the thank you for reading with a selection of Elvis vinyls as an engaging background and hint to the further exploration I intend to do about objects and the role they play in people's lives during unit 10. I also used this as an ode to my initial ideas and research looking into the fictional stories of how items arrive in a place, where I consider the owner's decisions in donating them, as these vinyls were donated to the Emporium (Charity shop) where I photographed them. (King's Emporium, Margate, 25th November 2023).

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Session with Henrietta Simpson, Academic Support

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Session with Henrietta Simpson, Academic Support

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Henrietta had helped me with ideas and suggestions about whether the medium of comics delivered enough criticality. She had suggested opting for the frame of a visual essay. Which I had avoided considering as I wanted my outcome to be more experimental and creative. However, this medium would allow me to create images and visual language to aid and compliment my argument, presenting it in a more visually engaging way than a traditional dissertation-style essay which I wasn't interested in pursuing. This format allowed me to equally deliver my research, position and criticality with heightened clarity something I had been struggling with greatly in my other experimentations. It would allow me to develop the extensive research I had undertaken and develop a clear argument that I needed to present for this project. So I began work on a zine that would hopefully allow me to accomplish these goals.

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The initial tests for my altered outcome

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The initial tests for my altered outcome

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All but 2 of the visuals featured are of my own making, and all images (that are mine) are part of my body of images collected featured in this archive. I decided the front cover would be the two fèves from my grandmother's house that I mention but indirectly in the piece. Upon first glance they deliver no context on the writing to come however once the viewer has read the material they will refer back to the image that serves an an easter egg or suggestion of the origins of these items. The image as the back cover on the left I like as a parallel to the front as it is two figures but part of the same object dismantled. It is a metaphor for the silent identities and what lies behind the object and an example of an object found at a market.

The title I had chosen at this point felt suitable as it was clean and didn't feel too obvious. I wanted it to provide as an indicator of what the content could be without being too obvious, suggesting the viewer to open the contents to gain further context.

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This was the final recording from that script after many trials 

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This was the final recording from that script after many trials 

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The process was a lot more challenging than I had anticipated. My partner, who very kindly aided me in this process, Jack Burrill, and I built a sort of fort in the quietest part of our flat under blankets to avoid any outside sound seeping in and create a sort of condensed proximity to our conversation. I played wit effects and with developing left and right sound as I had aimed for it to be heard in headphones to immerse the listener as though they are directly overhearing a conversation happening around them, creating a sense of space to the conversation.

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A conversation between person & Object- recording

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Script I developed and then made attempts to record and edit as an outcome of my research

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Script I developed and then made attempts to record and edit as an outcome of my research

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This script I felt explored the research and unpacked it in a personal and interesting way. I felt that exploring care that we give to the objects we encounter through an imagine conversation with an object with a partial lens being that of the Japanese transfigured object folktales as a frame of the conversation was an effective portrayal of the research I had developed this far. I felt happy with the script however in my tutorial with my tutor, when I presented this concept he rightly mentioned the potential challenges. Which I had not considered perhaps as serious as they were in actuality. the reality was I had never written a script, I had never played with audio in this was and that I would be relying on a partner to deliver the lines with a more obscure level of understanding of my research. When presented with all this I did feel worried but also excited by the experimentation involved and opportunity to learn from the outcome and develop.

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Conversations overheard: Object and person

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My initial draft of the essay I wished to write and develop into my C.P.P 

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My initial draft of the essay I wished to write and develop into my C.P.P 

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This development didn't feel reflective of my voice and position and instead presented as regurgitation of theories and ideas without the needed criticality which I believe I had developed in the next draft, then further in the final outcome.

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Cultivating Care: Understanding Our Relationships with Objects through the lens of Material Culture

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on Tuesday I had a group tutorial, unfortunately, because I had altered my work so consistently it was mainly a draft of writing at this stage (attached above). I am happy upon reflection with this draft as it is. It provided a skeleton to be improved and adapted when supported by the visuals I had selected for this process.

I wish that I had been able to delve deeper into the research I had conducted in my interviews with TFL Lost Property Office workers and the photographer Edward Wright I had met there and emailed back and forth with the following. However, these experiences have influenced my research clearly through my experimentation with creating interview-style conversation transcripts and in my consideration of how objects are reflections of the people they encounter. I aim to refer back to and develop this research much further in the next unit through exploring objects in a physical sense through symbolism and sculpture.

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post exhibition pack down, people's objects being respectfully returned to safe spaces so that students unable to collect had time to retrieve their work

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post exhibition pack down, people's objects being respectfully returned to safe spaces so that students unable to collect had time to retrieve their work

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The work I had entered into the show, my description is number 44 on the back of the poster.

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The work I had entered into the show, my description is number 44 on the back of the poster.

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I am very happy with this as it has been a key part of my process for this project, my first ever glazed and fired ceramic. I see this piece as heavily inspired by my first hand research trip and interview with the workers at West Ham's Transport for London's Lost Property Office. With the tag mimicking the yellow tags I saw there. I decided to use this as an ode to that and hope it is a launchpad of sorts to the next Unit 10. Where I plan on making further object sculpture through finding objects and conducting further interviews and research to create meaningful symbols of mundane items and their roles in our lives.

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Lily and I also made sure to put one sided poster, with no back prints around Peckham and Camberwell

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Lily and I also made sure to put one sided poster, with no back prints around Peckham and Camberwell

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There wasn't much time to rely on all the curation team to get involved as there was dedicated persons involved in setting up that included us and ideally the job of distribution might've been taken over by members who weren't active in setting up or packing down the exhibition however this was a useful lesson in communication as a team and in equal involvement. Definitely due to all the work we were all undertaking besides the exhibition itself and a useful experience that I will have learnt from I hope in future curation roles.

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We decided to create a 4 page A3 blown up version of the back to make it more accessible and legible to visitors of the exhibition

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Blown up back of poster with added names

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Blown up back of poster with added names

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I decided to put a spotlight on this area too, creating a suggestion of importance to this area. Lily an I also cut some wood to perfectly fit and not obstruct the door that we posed on some wooden legs to create a table space where posters could be put for visitors to collect and use as reference when navigating the space. I am glad we did this as it was a clear aid.

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This was the file used that we had extended as we had last minute entries of names and sentences, which put pressure on us getting everything set up in time but ultimately gave the viewers of the show more information and allowed artists involved to have their work credited with context. Unfortunately we did not have all the names or sentences provided by the date we had requested this done by so there was work in the show that was unnamed. We didn't wish to make students who had Brough work feel left out so following the system we had devised of using different coloured stickers with numbers connecting to the list of numbers on the back of the posters we gave these students the same stickers and wrote I.P for in process on them to fit the theme. This was not ideal but kept the theme running between all the work at least. If we had more time it would've been brilliant to have the numbers handwritten on the poster too to match the visual language of the exhibition and tie everything together.

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Pre- this week I had taken on the task of editing the poster and Tilly and I had booked a Risography session with Lars to get the poster printed. Tilly made the list of names and I had edited some, taking duplicates away and generally entering and adjusting to aid in making it as legible as possible.

We printed on a speckled white paper to add texture to the print and chose blue and neon pint to make it as bright and exciting, visually, as we could with the content we were working with. I think the poster effectively reflected the sentiments of work being in progress and in process. The process of scribbling bits out and footnotes that are all part of final outcomes or our journeys as creatives.

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page 30 as well as others from this article analysed and annotated

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Reno. J, Your Trash is Someone's Treasure; The Politics of Value at a Michigan Landfill, 2009

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Reno. J, Your Trash is Someone's Treasure; The Politics of Value at a Michigan Landfill, 2009

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This article was one of my favourites from Journal of Material Culture series of volumes. It covers such a wide variety of theories relating to object waste and regeneration of object value. The article looks at gender roles in relation to mending in general as well as how gender can be affirmed through mending of certain objects over others through theorists such as Strasser and Mellström, with "spheres of sociability mentioned" (2009, p.35). I haven't been able to delve this deep through my outcome but to further delve and present a form of this in my work for unit 10, referring back to this document and perhaps looking at the works of theorists mentioned to inform my development for the next unit.

Another facet of this article I wish to delve deeper into is the discussion of an object's role in the loss and regeneration of value, and how it can be warped(2009, p.34,p.36), which I have delved into and presented as part of my position in my argument of how cultivating care affects us as people the objects and our environment. I believe I can cover this concerning us and objects in more detail if I continue with this direction as I plan to in the next Unit.

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Other material I have read into further and wish to therefore develop ideas on past the research presented in my C.P.P is ideas presented in parts of Jane Bennet's Vibrant Matter. Theories of object importance and human importance being blurred are explored, which I relate to real life examples such as the acts of waste colonisation that have taken place in the Chilean Desert. That are made up of unsold items of clothing, piled so high they can be seen by satellite. (Cawood, C. (2023). Shocking images show mountain of unworn fast fashion visible from space. [online] The Independent. Available at: https://www.independent.co.uk/climate-change/news/fast-fashion-chile-desert-space-b2361069.html [Accessed 10 Dec. 2023].)

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Annotations not visible, but made throughout document

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Kilroy-Marac. K, An order of distinction(or, how to tell a collection from a hoard), 2018

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Kilroy-Marac. K, An order of distinction(or, how to tell a collection from a hoard), 2018

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This article has been an important piece in the puzzle of my research. I have been inspired by the themes of hoarding that it delves into to reflect on the position I have taken in my C.P.P. I think this has allowed me to develop further criticality as I am questioning my own suggestions through my writing that the audience reading should take inspiration from. in the areas where I am discussing mending. I am also taking into account the very real factors that may make mending over replacement difficult for people. It is not always accessible. Equally ,moving on from objects is not always possible or simple. It can call for enormous mental strength especially with such challenges as Hoarding can pose on people. I didn't however develop the idea as far as I could perhaps as the subject is a sensitive one for me, having close family that have great struggle with hoarding. I wish to develop my understanding for myself and in the next Unit to be more aware in my work of these challenges and to avoid offending those affected.

These themes are also explored in (Balthazar. A.C, Old things with Character: The fetishization of objects in Margate, UK, 2016) Which delves into the different charity shops and lightly compares a £1 shop to a more high end shop. This had inspired my need to reflect on the materials used in mending and how they may not be accessible to all. Which is why i sought to find (Lynch.D, What Is David Working on Today? Pants Repair, 2020[film]) as an example of mending with what you have, although not done perfectly done intuitively in an accessible manner as a response to these challenges.

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Lipman. C, Living with the past home: The afterlife of inherited domestic objects, 2019

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Lipman. C, Living with the past home: The afterlife of inherited domestic objects, 2019

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Parts of this article I have mentioned in my final C.P.P. I wasn't sure initially how the article could challenge or support my position. However, the care and connection through objects that the carpenter, Peter, discusses and Lipman evaluate's has aided my argument greatly. I think it demonstrates giving purpose to items, giving them use in our connection with others that isn't instant. The roles objects can have in connecting us. Which I've also explored when mentioning the communities of persons that seek free items off of online platforms. All these communities involve connections being made, even if they're not instant or fleeting, these connections are through the objects at hand. The object's identity plays a role in connecting people and their histories. I am hoping to explore the role objects play in various contexts further, in Unit 10.

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Berns. S, Considering the glass case: Material encounters between museums, visitors and religious objects, 2016

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Berns. S, Considering the glass case: Material encounters between museums, visitors and religious objects, 2016

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Annotated document that I didn't end up using but has inspired me to explore in my IPS. I aim to look at how objects and the way in which they are presented, case or no case affects the audience. how we form connections to objects and the ways in which I can influence that through presentation. This article has been helpful in the earlier stages when I had planned to create a catalogue in a glass case as a metaphor for it as a removed object holding a level of power higher than that of the audience but this was not the direction I decided to then shift into.

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After deciding that the audio was an intestine idea in theory but in actuality was incredibly un engaging way of presenting my work I opted on developing this script into a comic, with a 3 frame long format as a booklet of sorts. To engage a wider audience including younger children with aims to educate on object importance, cultivating care and being mindful of waste we create as human. However in actuality the converstion and research I could present was hindered by the format as I wanted it to be more academic and text heavy, which overwhelmed the medium and hindered the intended audience from being targeted as it might be to complex. And if the language wasn't more developed my argument and position felt unclear. Back to the drawing board with the next idea.

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found object of my own, photograph taken 22nd January 2024

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19th January 2024, my flat by me

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Friday 19th January 2024, at my flat taken by me