Through the folds
Project proposal
CONCEPT OF EXPLORATION
‘Through the fold’ expands upon my recent project ‘Walking the margins’ which explored the use of still life photographs as a vehicle for self-expression. These projects both investigate how symbolism can be used to represent various experiences and feelings associated to mental and physical health in intentional and creative ways.
This project will expand across genres of photography utilising predominately abstract portraiture and larger still life assemblages though I aim to experiment with landscapes as well. Here I allow the body and objects to become sculptural forms and a visual narrative all without revealing my subject’s face. ‘Walking the margins’ portrayed a sense of being ‘on edge’ depicting sculptures that appear to be on the brink of movement and collapse. To contrast this series will uphold a sense of pause, an unnerving stillness representing a calm before the storm. In this development in the series the subject becomes visible, allowing viewers in closer revealing more layers than the last.
I will use found and collected objects to help convey the visual narrating, and to represent specific emotions or symptoms. From these I hope to instil a sense of curiosity from viewers encouraging further contemplation into the image’s meaning. It invites viewers to recognise familiar internal feelings and sit with them intentionally.
MOTIVATION
I have always found difficulty when expressing my feelings to others, finding it hard to explain myself beyond single words. Through this project I hope to draw from these words and find metaphors to represent my emotions and experiences both with physical and mental health.
Professionally I would like to find ways to use my conceptual work as a basis for commercial outcomes, creating outcomes that feel different and more artistic to typical product and portrait photography. This project allows me to practice these skills and develop them further.
Techniques
I wish to explore this concept both in and out of the studio before deciding on the most effective location. Outdoors I will position my subject in rather industrial locations, using concrete and architectural geometry as a minimalistic backdrop. These shots will be supported by artificial lighting to add a clinical and intentional feel to the works. I will likely use softboxes as the chosen lighting modifier for a more diffused and softer feel.
In the studio I am aiming to experiment with fabric and drapery to create more abstracted and disjointing portraits. These will only reveal relevant parts of the subject to viewers, using the intersecting layers of fabric as a sort of curtain to deliberately obscure them from view. I am inspired by the works of Ziqian Liu and her use of similar techniques.
These images will be lit from the side with diffusing softboxes to emphasise the folds and curves of the fabric used whilst also providing a muted and more subtle look.
Ethical
Ethically problems that may arise within the shoot regarding the model’s comfort and safety. Walking in and out of the draped fabric is a fall risk and if a stand is knocked that may have a domino effect. This will be mitigated as much as possible with the use of sandbags on all lights and tape on the ground for standing directions. Regarding the props, anything going over the models face will be designed or adapted to be as comfortable as possible.
METHODOLOGY
Target audience:
I hope the work resonates and attracts people with similar experiences to my own, other people in the chronic illness community and simply people who may resonate with the thoughts and feelings explored within the work.
VISUAL OUTCOMES
Given the length of the series, I will present the work at the end of this semester as 8 A4 prints arranged in a linear fashion. The more rigid approach to presentation helps to balance the chaotic subject matter depicted within the images. I will also present a dummy book as I plan on developing the work into a book to follow on from my last.
PROJECT TIMELINE
BUDGET
Printing:
Test printing estimated: $30
8 x A4 Prints (24” x 35” Moab Entrada Rag Bright) : $81
Dummy Book: $50
Props: $300
Total: Approx. $461
Research
Article: Front Psychiatry “Art and Psyche Festival”: Utilizing the power of art against the stigma around mental illness, 2023
This article recognizes the power of mental health challenges being represented in art. It is well known that mental health has long been stigmatized in society and this article highlights the devastating impacts of this:
“The results of the Mental Health Million project, which is a survey on global mental wellbeing launched by Sapien Labs, revealed that in 2021, more than 50% of people with clinical mental health risks did not seek psychological help. It also stated that 25% of those not seeking help cited stigma as the leading cause.”
From this we can infer that patients fear prevents them from receiving the help they need, a dangerous issue. The authors state that representing mental health issues in art can be used as a tool to reduce discriminatory behaviour and can positively impact the stigma by “constructing shared meanings and engaging audiences on an emotional level”. They reference a study (Riches et al) whereby gallery visitors were exposed to artworks challenging common mental health myths and reported on the increase in positive attitudes towards the subject from participants highlighting the impact art can have in this area.
My work aims to create photographs that resonate personally with people living in similar circumstances to my own. To create images that speak to the little things, the small feelings and symptoms others may recognize as their own. By removing my model’s identity, I allow the symbolism to take over, letting the work speak to others rather than be entirely personal. In turn the photographs will hopefully provide fuel to this cause.
PHOTOGRAPHIC REFERENCES
Ziqian Liu
This body of work is heavily inspired by three self-portrait photographers.
Ziqian Liu’s work has a strong sense of peace and solitude behind each photograph which I am drawn to. She captures fragments of herself using mirrors and organic elements to form disjointed yet somehow unified compositions. The negative space, careful geometry and muted colour pallet feel simply quiet and controlled. I am inspired by her works to experiment with conveying a human presence through gentle obscurity and absurdity simultaneously.
Reflection, Ziqian Lui, n.d
Ben Zank
New York based photographer Ben Zank’s complex self-portraits depict him in the most curious and obscene ways. In many of his images his body is used as a sort of prop within the landscape, often blending and molding into the world around him in form. The result is a complex mixture of a playfulness and an almost unnerving uncertainty. In each image little is revealed from the emotions on his face, but more so from the way in which he interacts with his surroundings. In his photographs “the atmosphere screams revealing depth of the subconscious mind” (Khmelnitski 2018).
Decision Analysis, Ben Zank, 2025
I’m in a deep state of reflection, Ben Zank, 2023
He blocked me, Ben Zank, 2023
Gerwyn Davies
Gerwyn’s work forms a graceful dance between placing his subjects in an entirely exposing and extravagant stage, whilst also concealing them from viewers entirely allowing them space to be vulnerable. This is evident in his project ‘Calypso, 2025’ a name with multiple meanings but when traced back to its Ancient Greek origins means to conceal and cover. He contrasts this with the modern connotations of summer and fun forming an interesting introspection into queer visibility.
“People expect a photographic portrait to reveal something about the subject, and I like to toy with that ... it’s about queer misdirection: I’m inviting attention but then controlling how it goes,” (Davies 2025b).
Whilst his works are made to be ironically complex and flashy, there is a strong sense of restraint that I am drawn too. Each of the locations for his photographs are well chosen and lighting strongly considered. The way Gerwyn manages self-expression and anonymity through sculptural and location-based symbolism is a key source of inspiration for my own project where I hope to translate my experiences into costuming assemblages, captured through portraiture and still life’s.
Bather II (Calypso Series), Gerwyn Davies, 2025
Magpie (Calypso Series), Gerwyn Davies, 2025
Bibliography
BibliographyDavies, G 2024, Bather II (Calypso Series)<https://michaelreid.com.au/stock/batherii/>.
Davies, G 2025a, Magpie (Calypso Series), <https://michaelreid.com.au/stock/magpie/>.
Davies,G 2025b, ‘Heart of the Nation: Newcastle 2300’, The Australian <https://www.theaustralian.com.au/weekend-australian-magazine/heart-of-the-nation-newcastle-2300/news-story/379306ab100c551b4ac5f1465d52762a>.
Front Psychiatry et al. 2023, ‘“Art and Psyche Festival”: Utilizing the power of art against the stigma around mental illness’, Frontiers in Psychiatry, vol. 13.
Khmelnitski, N 2018, The 23 hours and 59 minutes I spent — not answering this question - featuring Ben Zank, WÜL Magazine <https://www.wulmagazine.com/interviews/ben-zank>.
Liu, Z 2020, Reflection ,<https://www.ziqianqian.net/reflection/93ym59imgga8tz6ylj08thaq3di45e>.
Zank, B 2022, He blocked me, <https://www.instagram.com/p/CewPXUEOEhl/>.
Zank, B 2023, I’m in a deep state of reflection, <https://www.instagram.com/p/CuFcIxyOKZW/?img_index=1>.
Zank, B 2025, Decision Paralysis, <https://www.instagram.com/p/DN0_En2XImv/>.