Introduction

Notes about how to develop this theme into further works—I'm interested in adding a more complex shape to the centrepieces but many questions arise. For instance, maybe I will have to exchange this addition for a reduction in the surface complexity—by choosing a treatment other than collage.

One concern at this early stage is deciding whether making shaped centrepieces that are artistically decided is an unnecessary contrivance or not. Can I justify making these shapes based on artistic interpretation alone? Can I successfully attempt to parse each image, thought or memory through the shape of the centrepiece?

For example, looking at El Lissitzky's purposely imbalanced compositions—that through their suggestion of imminent collapse convey a kind of emotional tension—I can envision the possibility of developing a visual language that I can apply to designing shapes as signifiers. But I am wary of overthinking, or overdesigning this element.

Is there is a way to use an organic process to achieve these shapes—preferably a process rooted in photography? If so, (at the time of this writing) I would prefer to go in this direction, rather than designing my way out of this conceptual problem.

The following images show my notes as I try to think through some of these questions. How might I address these issues and how might my decision making affect the outcome in practical terms?

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Conclusions

More questions than answers at this stage, but I find it helpful to run through my thoughts in a sketchbook. I'm excited by the possibilities for developing this theme, but I feel the need to take care in sifting through them.

My experiences with photographic art so far indicate that adding to a concept is easy but the most elegant solution may lie in knowing what to leave out.