McFarlane’s work acts on images of the past to create a fantasy that related to the mysterious images that she bought at second-hand shops. She has encouraged us to take this and apply it to our own archival photographs. To develop an idea of how to make an interesting project based on photographs that were taken before applying artistic meaning to it.
McFarlane’s creates fantasies to form a story around each image. She also uses archival images to form context for her projects. This context forms more information about the places she videos. Her idea is to capture the essence of a place, to allow the audience to share nature, to share every aspect of a location. Stories provide context, and archival images aids the stories that are told.
Trish Morrissey is another photographer who uses archival images to aid her projects. She uses the images of the past and manipulates them to place herself in the moment, challenging the reliability of the image and questioning memories. This is another way of using those photographs to aid the message of an image. In the case of Morrissey, ‘we see a photograph but experience an image’ (Fred Ritchen), her project develops the devices of the photograph, manipulates it to enhance the meaning and creates a representation of a photograph.
To enhance depth of my archival images I’d like to apply more meaning to them. If I were to visit the same locations with the same camera, someone could photograph me partaking in everything that was once captured. Expressing the time in-between the two photographs, showing the growth of human and the decay of a location. It would make an interesting concept.