After completing a wide range of experiments throughout my project, I began the image selection process by going through all of my photographs and choosing any images that I felt were successful both visually and conceptually. My main priority was selecting images that best communicated my idea surrounding change, observation, and encouraging viewers to notice details within nature that are often overlooked. Alongside this, I also considered the overall visual impact of each image, particularly composition, colour, focus, and how engaging the image felt when viewed as part of a wider series.
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I decided early on that I wanted to include both colour and black and white photographs within the exhibition. Although vibrant colour palettes are a large part of my visual style, I also wanted to showcase the experiments I had carried out using black and white imagery inspired by artists such as Imogen Cunningham and Edward Weston. Including both approaches would allow me to present a wider range of experimentation while also giving audiences the opportunity to compare how the same natural subjects can create entirely different effects depending on presentation and editing style.
After narrowing my work down to around thirty images, I began analysing them individually to decide which were the strongest final pieces and ensuring they were all the same aspect ratio. One decision I found particularly difficult was choosing between two images that both worked successfully in different ways. I was drawn to the left image because of its dynamic quality and the illusion of falling water droplets, whereas the right image felt far more eye catching and visually powerful, almost appearing to come out of the screen. To help make this decision, I gathered peer feedback, and after reflecting and considering my own intentions for the project, I ultimately selected the right image. I felt its abstract appearance and stronger visual impact connected more effectively to my concept of encouraging viewers to stop, observe, and reconsider familiar natural forms.
Originally, I planned for the exhibition to contain an equal number of colour and black and white images. I created an initial mock up layout based on this idea, however, after spending more time reviewing the arrangement, I realised it restricted my ability to show the full range of my colour work. The four colour images I had selected at this stage functioned mainly as two conceptual pairs, meaning much of the wider experimentation and variety within my project was not being represented. Because of this, I reconsidered the balance of the exhibition and decided to include more colour images overall while still retaining selected black and white pieces throughout the display.
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As my ideas developed further, I decided that my joiner pieces should become the main focal point of the exhibition. These images best represent my concept surrounding time, change, and layered observation, making them some of the strongest and most resolved outcomes within the project. To emphasise their importance, I plan to print the joiners in A3 size, allowing them to immediately draw attention within the exhibition space. The remaining images will be printed smaller at 10x8 inches. I chose this size because it is still large enough for viewers to appreciate the intricate details within the photographs while also giving me enough space to display a wider range of work across the boards.
I also changed the layout of the exhibition itself throughout the planning process. During my midpoint online exhibition, I received feedback suggesting that I arrange the photographs chronologically based on when they were taken in order to reinforce the idea of change over time. While I understood the conceptual reasoning behind this suggestion, once I tested the layout visually, I felt it created an unbalanced presentation. The colour and black and white images felt disconnected from one another, and it separated some of the images that I intentionally wanted displayed side by side, particularly my photographs documenting the gradual growth of a plant.
Instead, I decided to arrange the exhibition based on visual flow and balance rather than strict chronology. I want the exhibition to feel cohesive and easy for viewers to move through naturally, alternating between highly detailed macro imagery and slightly wider conceptual photographs to create variation and rhythm throughout the display. I also decided to scatter the black and white images amongst the colour work rather than separating them into their own section. I felt this approach better reflects the idea that the images are all exploring the same subjects and concepts, simply through different visual methods and experimental processes. Additionally, including a larger number of images overall allows viewers to see more of the experimentation, progression, and development that has taken place throughout the series, helping them understand both my concept and creative journey more fully.
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To further support the presentation of the work, I plan to paint the exhibition boards white before installing the photographs. I feel this will allow both the colour and black and white images to stand out more clearly while also creating a cleaner and more professional overall appearance. I also plan to order all final prints before Friday 22nd so they arrive with enough time for me to review the quality, make any necessary changes, and prepare the final exhibition layout properly before installation.
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Alongside the photographs themselves, I have also written an artist statement to display within the exhibition space. This statement explains the concept behind the project, my inspirations, and the ideas surrounding observation, perception, and change that influenced the development of the series. Including this within the exhibition will help viewers gain a deeper understanding of both the intentions behind the work and the thought process that shaped the final outcomes.
Artist Statement
