Identity 1

Identity 2

Identity 3

Identity 4

These are a series of images, which portray my identity. I questioned my identity, to how I perceive the world and the surroundings, from my perspective. Or how people see me. The photographs all relate to this question, because I want you to understand my life and the town I have been brought up in. The historical economic decline; scabrous portrayals of coalition, has created a demoralised working class community. These are the results of lack of updates or refurbishment in the town. Family’s stuck in history, with cheap décor, and aertex patterns tattooed their homes. The town’s colour-vulgarity through architectural characteristics, leave dull and demoralising impressions, relating not only to the economic decline but also to the sadness lurking the town. 

However, this is home and it always will be. 

 

I display this through a variety of different photographical styles, to enable the audience to see my identity from divergent angles. I wanted to create contemporary images, present the lack of modern fashion. These are personal sights I come across everyday. The subdued colours traditionally associated with rural England, absorbed in show homes and interior furnishings, burying the general public - the truth.

 

I am revealing the verity behind this town, displaying the glamor from the terraces, through the unique detail. The town’s symbolic characteristics have special aspects that create irony, enhancing beauty. The warm community feel - ‘make do with what we have’ statements, allow no restrictions of sociable times with friends and family. These images can be associated with Martin Parr’s photography. Parr captures the essence of day-to-day life encounters, by exposing the ordinary. Seen distinctly in Parr’s ‘Home and abroad’, where he captures the un-staged moments to unveil the natural merky appearances that the public can relate to. He photographs images that would be thrown away or deleted, through a journalistic way, as it doesn’t display the idyllic memories of your family. Parr’s images are raw; this element helps the public to deceive them as reality; relate to themselves. 

 

I was interested in the representation of British northern holidays, portraying families and pets, spending time together at desolate seaside towns. I like the history and change of opinions over time, redesigning the memories of youthful happiness to a realisation of the forgotten resorts. Fishing villages are slowly modernised and turned into depressive commercial facades, implying the stereotype of working class solidarity, greasy food for cheap-thrills, all the contents of British holidays. I have always been interested in documenting this style of photography, and would like to gain more knowledge in this field of photography.