My Art in a Show at Hemming Village

Every artist jumps at a chance for their art to be seen.  I was lucky enough to get two pieces into the annual 'Art Grows' display at Hemming Village. 

The art is hung on two floors and features a variety of mediums.  Here are some screenshots I took of the event:

The show opening included a guest speaker, a well know artist Michael Malm.  He directed his address to all the artists in attendance offered encouragement, urged us all to be bold and take risks. It was well attended and light refreshments were served.

Screenshot of art at the display- featured artist Michael Malm.  

For the display I printed on Vintage Silk paper size 20x30 and then framed (no glass). 

Nothing is better and more motivating than to see your art in print and on display.  My pieces were hung in well lit and very visible locations and I was quite pleased. 

 You can see more of Michael Malm and his fine art at: http://www.mikemalm.com/archive-1

Zine and Collaboration (with a tiny frustration and portrait fail!)

Ok here's a confession- the first time I ever heard the word 'ZINE' was after I had begun this program.  I had to google it (insert gasp emoji here!).

Incase someone has stumbled onto this post and is also in the dark- here is the definition curtesy of Merriam-Webster Online (available at: https://www.merriam-webster.com/dictionary/zine)

Photographer James Moreton totes the glories of creating 'zines.' For him zines represent freedom, and a tactile environment where creators can sort, pair and juxtapose images to create impact or tell a story. He calls them 'intriguing' and 'interesting' form of modern art (Morton in Phoblographer 2019).

Our assignment was one of collaboration.  Together in a self-chosen group, with a collective theme each group member submitted.

Because the MA program at Falmouth University is world-wide, and very diverse, we choose the theme to be - Environmental Portraits.  Hopefully showing the differences, contrasts, and yet similarities of man.  The idea is curtesy of fellow student, Theunis Stofberg, who also volunteered to collect and help organize.  We decided each group member would strive to submit 2-6 images.

The FRUSTRATION:

The group created a group texting plan to communicate- turns out my service plan does not include international texting!  Grrr.  Opting into a 'pay per text' plan, with a group text shooting ideas around could really add up - and is not really in the family budget (why aren't students made of more money!?) but luckily Theunis was kind enough to keep me updated via. email and so my participation continued.

Here are the 4 portraits:

Fig. 1: Slade 2019

Was unsure about what career to choose as a youth. 

Now 30 years later he feels it was a great life serving the community.

Fig. 2: Slade 2019

 Not getting much sleep thanks to homework,

but hoping becoming an EMT will be worth it.

Fig. 3: Slade 2019

 Boy Scout Leader for over 40 years. 

This image was taken at a ‘day camp’ he was running for cub scouts.

He is 74 years old. 

Fig. 4: Slade 2019

On the School Board, is a Registered Nurse, and currently a nursing instructor.

  Serves as president of the local women’s organization (with over 1000 women members) as part of the Church of Jesus Christ of Latter Day Saints where she trains women in leadership roles and oversees humanitarian efforts.  Has raised 11 children including several who have entered the medical field, studied law, and education, with one full time missionary, and even a ball-room dancer.

The next frustration: When I saw my images with the others submitted I realized I totally missed the boat!  The other portraits definitely had a more artistic flair (duh moment!).  I never studied photography as undergrad so I sometimes feel like I am a step behind in intuitively knowing what the assignments are asking.  When they said environmental portraits from our areas I was just thinking headshots from around the world- I totally could have been more artistic in their expression it just didn't occur to me when I was doing it!  Then as a photographer I think I should always be looking for the creative edge right?  Lesson learned.  

Figure 1. Bren SLADE 2019. Private Collection: Bren Slade.
Figure 2. Bren SLADE 2019. Private Collection: Bren Slade.
Figure 3. Bren SLADE 2019. Private Collection: Bren Slade.
Figure 4. Bren SLADE 2019. Private Collection: Bren Slade.

MORTON, James. 2017. 'Something Tactile: Why Photographers Should Create Zines.' Phoblographer. Available at:https://www.thephoblographer.com/2017/05/05/why-photographers-should-create-zines/ [accessed June 2019]

Merriam-Webster Online (available at: https://www.merriam-webster.com/dictionary/zine) [accessed June 2019]

Trailer Reveal

For the activity in week 2 we were challenged to create a trailer giving a sneak peak into our project. 

I immediately had some ideas forming.

I decided Adobe Aftereffects would be the program best fit to carry out my 'vision' but I continually forget how long these 'short' videos can actually take! I definitely grew in my appreciation for the videographer.

After many re-writes and versions here is the final:





There are still a few things I may go back and change, and the one regret I have is that I have some great images that will be produced for my project this semester that I wished I could have included in this trailer so I will probably be revisiting and revamping it later on. 

For now, enjoy. 

On Collaborative Photography and Anthony Luvera

Fig. 1: Luvera 2016. Collaboration in Research and Artistic Practice.

In a round table edition of Photoworks Annual,  Ben Burbridge notes that collaborative photography, or sometimes termed community photography, is continually growing in greater interest.  And the lines between creators, subjects and audiences are becoming blurred together (Burbridge et. all 2014). 

I am interested in exploring this form of photography since I hope to experiment with it in a workshop I am hoping to hold in August.  However the thought of this is somewhat terrifying for me since I have never done anything like this in photography before, and definitely consider it out of my comfort zone. 

Anthony Luvera, was a guest speaker at Falmouth University on June 25th 2019, and I found myself taking some fast and furious notes on the subject! (I didn't catch it live- since it was 4am my time - apparently my true love for photography has its limits!- but I was able to watch the taping of it later on).  Good timing since collaboration was the theme for this weeks activities in Surfaces and Strategies. 

Anthony has worked many years as subjects as participants, with a variety in range from metal health, addictions, homelessness, at-risk kids, LGBTQ etc. 

Some of the terms associated with his work are:
Participatory
Collaborative
Socially Engaged

Luvera (and I have heard Wendy Ewald stress this as well) emphasized the importance of the process as much as the end result.  (Wendy goes a step further to include the viewing of the final project,  in their community as just as an important process of the project as well).

This is what I find interesting - Luvera mentioned that participatory art appears enabled and unmediated, but in reality it just asserts the subject more directly into the artists interpretation of the subject themselves.  This resonates as truth to me and is how I have been feeling about the whole participatory project (projects where authenticity is invoked but also questioned).  If the subject and the author explore the process over a period of time, and pedagogy is involved, the subject may still be heavily influenced by the photographer or director and 'led' in a direction.  If the photographer or leader works together to create the final product; the what, how, where, and when, then their mark is left in that area as well.  I've observed that this is why the term 'in degrees' is used often when talking about the control of the project. 


Later for me:

Its really got me thinking- what will be my technical, methodological, strategical, and conceptual ideas?  How will it best be facilitated and contextualized?  And how will authorship come into play?

What kind of specific activity or activities can I facilitate to cultivate the contribution of my participants- what will be my methodology?  Since this is just a trial run the methodology won't be spread out over much time, but will be condensed into one setting.  Hopefully there will still be insight.

Children often use art and imagination to process the world around them, and art (usually in the form of drawing) to express it. I hope to add photography as a useful medium in there desire to do so. 

Who will I partnership with?

Can collaboration with the 'mindfulness' exercises for children be beneficial?

My collaborative project and images won't really be about power or social justice.  But focusing (more similarly with Wendy Ewalds work) on how children view and communicate through imagery, and how they can use photography to understand, express, and process the world around them. 


Figure 1: Luvera 2016. Collaboration in Research and Artistic Practice. Available at: http://www.luvera.com/ [accessed online June 29 2019].

BURBRIDGE, BEN; LUVERA, ANTHONY; DAW, MATT; DEWDNEY, ANDREW; STACEY, NONI; DOLBERG, EUGENIE. 2014. 'Roundtable: Community Photography, Now and Then.' Photoworks Annual.  Issue 21, p126-150. Available at: https://eds-b-ebscohost-com.byui.idm.oclc.org/eds/pdfviewer/pdfviewer?vid=2&sid=f54a72f3-1788-42f8-8b95-5a6cb0877e01%40sessionmgr102

LUVERA, A. 2019. Guest Lecture with Anthony Luvera. Falmouth Universtiy. Available (with login) at: https://falmouthflexible.instructure.com/courses/249/conferences

Wendy Ewald

Wendy Ewald has been contributing to collaborative photography for over 40 years.  Wendy is of particular interest to me because she does much of her collaborating with children.

Fig. 1: Ewald 2005. American Alphabet.

In an interview with Anthony Luvera, published by Photoworks Annual in 2013, Wendy goes into detail more about her thoughts and processes:

Wendy got her first taste for education when her brother was hit by a car at 5 years old.  She and her sister were engaged in his rehabilitation process and she sometimes innovated practices that helped him beyond what the adults were instructing.

She started her educational career with education in mind, but couldn't get away from her pull to photography, although her talent in the field of education and her interest in human development remained alive and active.

Ewald was influence by education researchers such as Vivian Paley's work with how children use storytelling as a form of socialization.  Also of interest was Lucy Calkins who found that children draw and draw as a form of communication. She used these ideas to direct her work.  (The bold is added for personal reference so I can research these ideas further as I feel they are also directly applicable to my own project.)

Also emphasized is that the process is directly intertwined with the product, and with as much aesthetic involved.  By creating something together there are layers there that wouldn't exist otherwise.

She mentions some mistakes she has learned along the way, some cultural errors that occurred, such as communities that don't welcome people toting cameras.  But everywhere she goes she tries to leave resources behind (Ewald and Luvera 2013).

Ewald collaborates with children.  She shares process of visually representing their lives and cultures with the children themselves.  Their 'social reality,' (Hyde 2005).

"In describing her artistic approach, Wendy Ewald has said "it doesn't interest me to put a frame around somebody's world... it interests me to help bring pictures out of that world." -(Woolcock cited in Hyde 2005).

Her roles of teacher and artist blend as she intentionally creates "Situations in which I allowed others perceptions to surface with my own," (Ewald cited in Hyde 2005).

She challenges the children to find their own solutions.  She calls her work "Literacy Through Photography," and sees it fitting neatly within the standard curriculum skills of reading, writing, visual media and critical thinking (Hyde 2005).


Much of the methodology and pedagogy Ewald uses may be helpful in my upcoming project work.  I just ordered a copy of her book and I am excited to explore it once it arrives!

Figure 1. Wendy EWALD. 2005. American Alphabet.  Available at: https://eds-b-ebscohost-com.byui.idm.oclc.org/eds/pdfviewer/pdfviewer?vid=2&sid=6f9a6a9c-61ea-490b-af19-450089f288f3%40pdc-v-sessmgr02  [accessed June 29 2019]


EWALD, Wendy and Anthony LUVERA. 2013. 'Tools for Sharing: Wendy Ewald in conversation with Anthony Luvera.' Photoworks Annual.  Issue 20, p48-59. Available at:  https://eds-b-ebscohost-com.byui.idm.oclc.org/eds/pdfviewer/pdfviewer?vid=2&sid=6f9a6a9c-61ea-490b-af19-450089f288f3%40pdc-v-sessmgr02 [accessed June 29 2019]

HYDE, Katherine. 2005. 'Portraits and Collaborations: a reflection on the work of Wendy Ewald.' Visual Studies. 20 (172-190). [online] Available at: http://web.b.ebscohost.com.ezproxy.falmouth.ac.uk/ehost/detail/detail?vid=0&sid=26747df7-d5ec-44a2-ae16-5c8ad58661db%40sessionmgr102&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=18363714&db=sih [accessed July 2019]

No Camera What?

This weeks activity takes the form of a 24 hour challenge to create 5 images without the apparatus familiar to us (a.k.a. the camera).


Since my project celebrates childhood and the world of imagination, and since I was already scheduled to spend the day with my daughter at a girls camp I decided to try some respondent-generated images with the classic cyanotype paper (which, I have never actually used before - gasp!) A special thanks to Amazon 1 day shipping!  I told the girls how it worked and encouraged them to 'create a scene out of their imagination.'  Loved the results- also the girls thought the paper very magical and re-named it UNICORN paper.

They designed on regular paper first so as not to be rushed in their concepts (look at us 'at one' with nature). 

On a side note- I have to say, at the beginning of the week when I glanced ahead and saw the 'Hands Off' challenge my mind was a total blank on ideas.  I have LOVED seeing everyone's interpretation and all the variety of ways this was able to be accomplished!!

Lets Talk.... Wardrobe!

Ok I admit I am a bit obsessed with wardrobe!  I spend HOURS and HOURS scouring the internet, and, since I live in the real world of limited funds, HOURS and HOURS more at thrift shops and yard sales looking for the winning find.

Fig. 1: aetb

It was an interesting phenomenon I noticed as a young up-and-coming photographer.  Before a session (whether it was a family, engagement, child etc.) I typically would ask the client to look up a few images online (or on Pinterest) and send them to me so I could get to know their style or get location ideas.  After receiving MANY images from clients I noticed that most of the time if they sent me a picture idea- it was actually the WARDROBE layout (and the beautiful people) that attracted them,  not the location or photo style.

Sometimes wardrobe is overlooked and non-considered during the process of image development and that is a MISTAKE!  As Elizabeth Halford notes sometimes "the difference between a good session and a mind blower could just be a scarf. A hat.  A glove. (2006)

For me, wardrobe is inseparably connected to the storytelling and the construction of the Tableau Vivant (Cotton 2014).   When concentrating a 'pictorial narrative' into a single image or series of images the wardrobe and contribute in three ways:

Distract - This is the worst case scenario.  Here, wardrobe not only doesn't mesh with an image concept but detracts from it, stands out on its own or brings attention to itself in an unflattering way.  (An easy example of this is the family reunion shot where everyone is told to wear an 'orange' shirt, and you end up with low end t-shirts with a variety -and clashing- orange colors. Ugg!)  I saw a more professional and commercial version of this at a recent art show.  The artist painted beautiful landscapes, then occasionally featured a subject wearing basic everyday clothes you would see in a polaroid shot.  Her paintings had out-of-this-world potential but the wardrobe created a disconnect for me through her wardrobe choices.  It was hard for me to reconcile the two.

Disappear- this is the lesser evil.  The wardrobe does not detract from the image, nor draw attention to itself but still does nothing to add to the image or contribute to the narrative.  It's bland, it is wonderbread on a buffet table.

Deepen- Here wardrobe is an element.  It closes the flow between location and subject.  It can create a sense of time-placement and scenario.  It's not above or below the image itself, it is a part of a whole.

Not to mention there is the whole science of color and linked emotions!  One professional woman made a very nice living (borderline phenomenon) making wardrobe recommendations paring natural colors with natural shapes, and bold colors with geometric shapes etc. tying it to personality types!

WHEW!  Who knew there was so much relying on what socks might be on the feet of your subject!

Here are some wardrobe test shots for some of my upcoming image productions (I start with the base pieces, accessories still to be added):

 Fig. 2-4: Slade 2019

I feel like the wardrobes start to have their own personalities.  Sometimes I feel more of a kinship to them than the people I am taking pictures of!  Just kidding... sort of.



Figure 1. aetb [online] available at: https://elements.envato.com/garage-sale-with-lot-of-items-PEHL8U4. [Accessed June 2019]
Figures 2-4. SLADE, Bren. 2019


COTTON, CHARLOTTE. 2014. The Photograph as Contemporary Art . Third edition. New York, NY: Thames & Hudson.

HALFORD, E. 2006. Child Photography-Wardrobe Options for the Photographer. Digital Photography School. [online] Available at https://digital-photography-school.com/child-photography-wardrobe-options-for-the-photographer/ [accessed June 2019].

Respondent Generated Images

Fig. 1: Ewald 2016

Respondent generated images is something I haven't had the courage to try, though I find the idea intriguing.  I am hoping to develop and host a workshop somewhere around week 11 of this block and I am planning to incorporate respondent work more fully.  I need to do a bit more research in this area, looking at past examples, so I can avoid problems that may have existing solutions (Chalfen 2011). I also need to decide what the purpose, and output of such a project might be.

Wendy Ewald encourages the importance of art reaching its own community, and sometimes first, meaning the community in which it's made (Ewald and Luvera 2013). A great example of this is her project: This is Where I Live (Ewald 2013). Student produced the images themselves, then were able to visit them on display.  Seeing their own images in print solidified the experience and released their stories into the world.  Susan Mesesales explains the importance of the art visualized in its own community further; it is not necessarily done to honor the participants but to help them understand that looking at photographs is as much of the process as creating them.

Though often created locally, the output for and viewing of my art is typically not local.  I will have to consider this further and perhaps incorporate this concept into my Final Major Project.



Chalfen, R. 2011. 'Differentiating Practices of Participatory Visual Media Production' in: L. Pauwels & E. Margolis, eds. (2011) The SAGE handbook of visual research methods. (Los Angeles: Sage), pp. 186–200. 

Ewald, W. 2016.This is Where I Live; Israel/ Palestine, 2010-2013. [online] available at http://wendyewald.com/portfolio/this-is-where-i-live-israel-palestine/ [accessed June 2019].
Wendy Ewald, This is Where I live: https://goo.gl/pfRkbe (Links to an external site.)

Ewald, W. and Luvera, A. 2013. Tools for Sharing: Wendy Ewald in Conversation with Anthony Luvera, Photovoice, 20, pp. 48–59

Figure 1: Ewald, W. 2016.This is Where I Live; Israel/ Palestine, 2010-2013. [online] available at http://wendyewald.com/portfolio/this-is-where-i-live-israel-palestine/ [accessed June 2019].
Wendy Ewald, This is Where I live: https://goo.gl/pfRkbe (Links to an external site.)

Where am I Headed?

Where am I headed this semester? Good question.  I have a few things stirring and brewing.  Sometimes I feel a bit like Alice, not sure which fork in the road to take because my destination is somewhat undetermined. 

Fig. 1 Slade 2017. Wonderlanding.

Previously I have been focusing my project specifically on children facing childhood opposition, creating fine art pieces of imagination.  The children I feature are amazing, the strongest of believers.  But somehow closing the focus on them alone still creates a sense of 'other' in their representation.

Fig. 2 Slade 2018. Livvy.

Imagination is universal in childhood, in fact, universal in all human ages, as Rob Gonsalves discovered.  Gonsalves is best known for his images of surrealism, that he calls 'Magic Realism' (Huckelberry 2014).  His images often contain optical illusions and a great use of alternate perspectives.  Gonsalves was pleased when he found his work resonated in many countries, crossing culture and language barriers, and appreciated throughout the world (Huckelberry 2014).

Books Available by Rob Gonsalves

This semester I hope to expand my focus to celebrate Imagination in broader terms. Still recognizing and featuring children facing opposition but expanding the collection to be inclusive and celebratory of childhood and the world inside the mind.

I'm going to try a few new strategies this semester, and possibly shoot for pulling together a (gasp!) workshop (never done one before! but I have had interest).

Here is my potential line up for the semester:

•1-3 images created with/for two sisters that come from a biracial background- their mother is Korean and their father is African.  Their mother really would like images that represent both, symbolic of the children themselves.

•An image created for a special needs boy of 3.  His parents say he loves to get out of the house any chance he gets so I am thinking something possibly 'outerspace' related (what's more 'out of the house' than that?)

•An image for an autistic boy of 5.  Still collaborating to get a clear concept there.

And my two biggest projects this semester will be:

•A massive photoshoot at the firestation- involving 7-9 kids, two fire trucks, the fire chief, a volunteer firefighter, and 2-3 dogs!  It's apt to be quite the production.  There is quite a bit of planning in the details here and I hope I can pull it all together successfully.  I plan to create multiple mini-story images that pull together to tell one story.
•Workshop.  Me, 10 photographers and as many kids dressed as their imaginations fancy- warriors, lost boys, medieval, etc.  The focus will be on storytelling. 





Figure 1. Slade, Bren 2017. Wonderlanding. Available at www.onceuponapix.com.
Figure 2. Slade, Bren 2019. Wonderlanding. Available at www.BrenSlade.com.

Huckleberry Fine Art Gallery 2014. Rob Gonsalves: Surrealist Painter. [You Tube documentary] Available at: https://www.youtube.com/watch?v=fkzxDkv5MvQ

Victoria Forrest

Victoria Forrest made a very interesting presentation today as part of the Falmouth MA program and here are some notes I took (directly from the lecture) this is not meant to be comprehensive- just points I would like to be able to reference later:

When creating a booklet- the first thing to look at is: purpose- what is it for?  Stand alone? Promotional piece?  Something that will accompany a show? Sometimes its a combination.

Plan your message:
Who is your audience and what do you want to say?  Have one message- know your message, and keep it simple.  Each page should work hard- don't repeat concepts.

Editing the content will be the greatest challenge.  Will there be narrative?  Or just the best of your work? Would including archive images support your message? What will you text/titles be- do you write it yourself or someone else?  Are you the best person to write? Don't forget contact details.

Try a layout!

Screenshot by Author

When thinking about pages sizes consider postage, page size, ratio of you images.

Screenshot by Author

Printing out actual images is the best way to check color- do not rely on your screen!
Always ask for proofs!  Check for color match.

Also- don't design in Photoshop- its slow and the text goes fuzzy- good to know!


FORREST, Victoria. 2019.  Book designer Victoria Forrest - 'Guest Lecture on Tues 11th June 12:30-1:30 GMT Falmouth Flexible Photography Hub conference' [lecture]. Falmouth: Falmouth University, 11 June 2019.

Week 1: Pete and Re-Pete were on a boat....

'Repeat photography lines the earth against the garage door to mark it's height every year before school starts, rephotography exploits it's diary pages through Jr. High'

Fig. 1: Rawpixel

Rephotography and Repeat photography.

Images are often taken in the same spacial location, representing the same scene as a previous photograph.  Inviting comparisons in an attempt of duplication although, "a photograph made at one time can never be exactly replicated in another," (Klett in Margolis 2011).

Photography is the obvious medium for this side-by-side comparison, and often very interesting to photographers and those in other related fields in the same way my own children stare at the 'what's different' image challenge that gets printed in their monthly children's magazine.

Repeat photography is often used and studied to examine topographical differences (Kett in Margolis 2001) where Rephotography marks social evolutions (Rieger in Margolis 2011).  In essence, repeat photography lines the earth against the garage door to mark it's height every year before school starts, rephotography exploits it's diary pages through Jr. High, (Me- I know, I'm clever).

  Yet although visual representation can be created matching the image captures with the gap of time between- repeat and rephotography both are a catalyst for the mystery of what can't be seen in the images themselves; the enigma of what has happened during the gap.

Since the subject of my photography is human (small ones) rephotography is the obvious fit for me to attempt. The what and how for me is still undetermined.  My photos come out of the imagination, and I've never attempted to re-visit anyone's imagination before, mine or my subjects.

I will update this post as my journey progresses.

UPDATE:  See the updated post and results here:
Repeat Photography

Figure 1. Rawpixel.  Available at https://elements.envato.com/globe-global-sphere-world-cartography-earth-P663QHH [accessed 10 June 2019]
Margolis, E & Pauwels, L. 2011, The SAGE handbook of visual research methods, SAGE, London; Los Angeles, Calif;

Short Summary- What I do

My current project celebrates childhood and art of imagination. If photography captures the world around us then I strive to capture the world inside the mind; specifically the mind of a child. I feature children facing childhood oppositions, such as illness or disability, and feature them in their own personalized, fine-art image based on their interests, struggles, and experiences, and celebrating their hope, light, and zest for life.  The final images are donated to two not-for-profit organizations that print art for hospitals world wide, as part of the 'healing arts' movement. 

See the intro video (and more about the project) here:

Inspired by Ed Ruscha

Ed Ruscha seemed to love random objects and words; although his though processes are professed to be quite deep.  Words that accompany his own work are often ones like 'deadpan' or 'banal,'(Ruscha 2009) and he stretched himself through multiple mediums such as print making, painting, photography and more.

What I love about Ruscha is he did what he did, then he didn't backdown.  Many had a lot to say about his work, especially at the beginning, but there was a proven audience for it, so it lived and grew and eventually became accepted, then admired, imitated and even honored.

Ruscha and I are kin in the fact that he loves "things on the bright side," and while he appreciates the dark side of the universe it has never 'appealed' to him to investigate it.  (cited in Nayeri 2016).

Inspired by Ruscha's book art- I created this mini series combining something that represents 'banal human existence' and combined it with words that may or may not change how the image is then viewed.  And I had a bit of fun as well.  Modernizing the images with color and a digital book format you can view the final product above. 

• WULLSCHLAGER, J. 2008, "Ed Ruscha", FT.com, , pp. 1.
• NAYERI, F. 2016, Ed Ruscha Continues His Wordplay, New York Times Company, New York.
• RUSCHA, Ed (1937– ) 2009, , 2nd edn, Oxford University Press.