TOP ARTS: VCE 2005
Student Profiles
John Tass-Parker
Gold, Frankincense and Blur 2005
Melbourne Grammar School
Interview: John Tass-Parker
Melbourne Grammar School –
Studio Arts
What links all my works is the beauty of everyday things found in the urban jungle. Whether it is an image captured in a split second on camera or a collage of introduced physical textures on a photographic image, I wanted to show how we pass unnoticed beauty every day. This unmanipulated print of an elevator lobby in the Tribeca Grand Hotel, New York, is both odd and intricate. I shot to include a door closing and a figure rushing. The image is rich in texture and colour. I wanted to capture the transitory nature of an elevator lobby – no one stays for long, everyone is rushing to come or go.
Describe the Ideas behind your work short-listed for Top Arts.
What links all my works is the beauty of everyday things found in the ‘urban jungle’. Whether it is an image captured in a split second on camera or whether it is a collage of introduced physical textures to a printed photographic image. I was trying to show how we pass this unnoticed beauty everyday and that sometimes we should just stop and look around at all the amazing things that have been created either through urban decay or purposely designed buildings.
What were your starting points? Where did your inspiration come from?
What initially gave me inspiration to take up the camera was walking the streets of New York City and finding beauty wherever I looked. I was there with my camera six months later and took around 500 shots
What media/materials did you select and why?
Photography has always interested me and this was a fantastic opportunity to experiment with the art form. I prefer to take a photograph and then print it (darkroom or ink jet) and then experiment with how I could enhance an image through bizarre mounts. One of my resolutions was to the work Window,which uses the frame of a window as its frame. I even added a wooden blind to enhance this notion of peering through the window to look at what is inside.
How did new technologies influence your ideas or working methods?
I prefer the traditional black and white photographic process (which has not changed much in the last two decades) however I did move to digital imaging and scanning my Black and White negatives into the computer. I did not use Photoshop to enhance or alter my works. My blurred images have been created through good timing of the SLR shutter and timing at the actual point when I took the photograph.
What challenges/difficulties, if any, did you encounter in producing your work?
More than the camera, the darkroom itself requires a unique combination of creative and technical skills. The photograph has already been taken; the negative must now be enlarged and the printing paper must be processed. I’ve set up a little darkroom in the bathroom – I’ve made it so I can easily dismantle it when someone needs to use it. The windows are blacked out with curtain material, I had to be meticulously clean and make sure there are no light leaks. I’m yet to master the combination of filters, ‘F’ Stops, exposure and processing. If I’m really careful when using test strips to determine correct exposure, I can achieve a good result.
Were there any influences from other sources that were significant in the production of your work, e.g. literature, media, historical, or political events? How did this impact on the development of your work?
I was fortunate to travel regularly with my parents. I spent a lot of time in foreign countries, the majority of that time in Canada and the USA. I saw many galleries (MOMA – NYC) and I was always fascinated by all these new sights – I guess that’s when I learnt to ‘see’. By this I mean that I was able to look everywhere and be able to find some element of beauty that would not generally be appreciated by a local who passes that place everyday. The good thing is, I come back home, and I can still ‘see’. It’s just a matter of clearing your mind and living in the moment. The other major influence is theatre. My mother directs both film and theatre. Often as a small child, I’d be at the theatre more than at home. I think the presinium arch has had a profound effect on me. A play would always be ‘framed’ by the presenium. I now go to great lengths to create that same effect on my photos.
Were there any ethical or moral issues or concerns evident in your work?
No ethical or moral issues per se, but I think my personal quest to discover beauty and aestheticism in every day objects is a quality that could be emulated throughout society. We have moved further and further out of touch with the basic beauty that is everywhere. We are all so busy and pre-occupied that life passes us by.
Example Support Material
What resources did you access, e.g. libraries, galleries, newspapers, magazines, art programs, websites, films, events and performances?
I went to quite a few commercial galleries including Flinders Lane Gallery, Anna Schwartz Gallery, 101 Collins, Gallery Gabrielle Pizzi and Nellie Castan Gallery
What exhibitions did you see in 2005? Was there a specific exhibition that influenced the development of your ideas and working methods?
I saw Grotesque, Dutch Masters at the NGV and went to most of the small commercial galleries in the city. The monsters and mythological creatures shown in Grotesque in some way pushed my feeling that anything can be shown in art. My work is not exactly a common photographic technique and I was always slightly uneasy about the fact that there were not many examples of that type of technique around. I do remember seeing the Pollock Exhibition in 2004 and his work was astounding. His major piece on exhibition, ‘Blue Poles: Number 11’ shows how abstract composition and colour is able to come together to form a masterpiece. I like to think I am a more abstract photographer.
Did you see Top Arts 2004? If so what was your response?
No, unfortunately I did not.
Did you consider presentation and conservation issues in the process and production of your work?
I was not thinking about presentation when taking my images however once I had the prints I was able to start experimenting with different types of mounts/ presentation styles. Conservation, whilst not important to me at the time, now is of crucial importance – I want my work to have longevity; for the prints to have as long a life as possible.
What advice would you give to students undertaking Art or Studio Arts?
Make sure you don’t leave things to the last minute. I saw many of my friends cramming. I f you are consistent and start thinking about your work brief in your first lesson than slowly add to your folio as the semester goes then you will have a more satisfying and comfortable artistic journey.
What were the highlights of your studies in 2005?
Looking back on how much I have improved and creating a final body of work I am extremely proud of.
Are you planning to pursue a career in the arts?
I have not completely made up my mind yet however Photography at RMIT is something I am considering. I have made up my mind however that I want a camera around my neck as much as possible for the rest of my life.
What are you doing in 2006?
This year I am deeply regretting not taking another art subject. It’s a case of not realising how much something is a part of you until you no longer have it. Taking Studio Art in Year 11 as my Year 12 subject was one of the best moves I have ever made. It helped me discover more about myself and my view of the world as I explored artistic expression. Although I don’t take any art subjects at school I try to wander about with my camera as much as possible in my free time (unfortunately there isn’t a lot of it). Overall I do want to say that I am extremely proud of the work I created in 2005. My teachers Cat Poljski and Paul Baxter were always supportive and without their guidance I would not have been able to produce the work I did in 2005.
