On dance floors

Initially I photographed a graveyard for my human presence task but realised that it was a pretty mediocre response and I had no idea how to take it further. Therefore, I started thinking up of new notions.  Firstly, I liked the idea of capturing people’s possessions, which is when I found Anthony Hernandez. Then the idea of capturing the gritty aftermath of wild partying in nightclubs, bars and houses. The latter I think will be the most interesting.

The only problem is, is that I haven’t been out this whole holiday-Boo! But now I guess I have an excuse. To get my creative juices flowing I wanted to see if any other photographers had approached a similar theme. This is when I found photography students André Giesemann and Daniel Schulz from Hamberg.

By André Giesemann and Daniel Schulz

By André Giesemann and Daniel Schulz

By André Giesemann and Daniel Schulz

Since 2009, Giesemann and Schulz have been documenting various German nightclubs just before close. Devoid of sweaty drunken masses the images evoke an eerily quiet reverberation of a reckless party. Broken beer bottles, cigarette butts, papers, spilt liquids and strewn rubbish are in abundance. “We are interested in the marks and emptiness in these kinds of rooms,” Giesemann claims, though the clubs aren’t always as empty as he’d like: “Sometimes it’s funny when wasted people try to be a part of our pictures.”In a way these images symbolize how club goers feel the morning after, once tidy and enthusiastic, now rough and messy.  The images show the effects of club goers on their immediate environment, which I find very alluring. I plan to photograph quite a lot of different clubs to show a breadth similar to André Giesemann and Daniel Schulz because their images are all very different, which makes the collection more appealing.

Skins, Series 2

When looking at these images, I started thinking about British teen show Skins. There are numerous episodes at which the drunken, stoned and pretty careless teenagers engage in wild house parties and busy nightclubs. Images of sex, drugs, dancing, smiling, laughing, crying, screaming, fighting explode, capturing a mix of how these young party goers feel and how it effects their surroundings.  Then images of vomit, tiredness, trashed houses and rooms. The aftermath. When creating my own images of nightclubs and parties I’d like to capture both the party and the aftermath.

One comment

  1. There is no limit to how many photographs you capture in response to task 2. Like I said back in the photo area, perhaps you could focus on not the gravestones but perhaps some other things that fill and enrich the graveyard environment, such as fallen leaves or interesting blades of grass. You could explore a human-still life relationship, maybe. I picture blades of grass half-wilted over a gravestone where the person buried is left to rest and also where the family members pass on their aura of loss in response. You do not have to focus on lots of things but maybe even one thing. Maybe you could focus on pebbles or rocks to examine links with the reputation of the graveyard as a whole.

    Maybe looking at artist John Blakemore might help. He photographed Tulips for many years in still life.

    Still life is not about taking things home and photographing them. A still life subject in some circumstances may allow you to freely arrange its place in a photographic composition but these can also be beyond your control. Sometimes it’s appropriate to keep subjects in the context where they remain to emphasise both artist direction and key message.

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