mtg #1

I just had my first Independent Study meeting with my advisor, Patti Russotti.
Besides agreeing that we both lost our brains in jars in car trunks somewhere... I have A LOT on my mind.
I am starting the next chapter in photographing Untitled.  Never did I think of fighting the hands of time again like I did when I was photographing Nonie before she died.  Now here I am, 186 days later, thinking of when I was fighting before this day.  So much has gone by, and so quickly.  Time has no mercy.
When my Nonie passed away, my Aunt and my Nana decided to demolish the house.  It is an old house and to have any other memories in there would be torturous.  When I originally found out about this happening, I was really nervous and scared and furious and sad... It wasn't until I understood why it had to be done, that I was able to be comforted enough and able to adjust.
I need to photograph this house.  My need for memories, as existing and infinitely incapsulated in my time box that is a photograph, forces me to record and document even the smallest of remembrances.  Documenting this house and its belongings inside is my next task.
I am currently preparing a team of photographic friends to help me on the day-of demolition to record this story.  I am entrusting my friends and colleagues, who I know will all have different perspectives of this scene, to assist me in this documenting project.
When I met with PR, we talked about how book binding was relating to the project, what I was going to photograph, and how much time I will have to finish.  She wrote up this list of stuff to think about:

I am going to think about what type of book I want to make (i.e. the binding, paper, stitches, etc), how to incorporate still lives of objects in the house, how to record the demolition (i.e. with gopros, film/video, photographs), how to photograph all the contents within the house and the building itself, and making a timeline of what and when I need to do stuff (going home every weekend to shoot the house).  

PR suggested using the studio for some objects that I take away from the "site" and photographing them separate.  It is almost like a separate collection from this grandiose thing.

I'm not sure if I am ready to tackle this subject again, but I want to.  And I guess I have to.  I guess proving so will be beneficial to my life and career as a professional photographer and a future curator.  PR did say: migrating into that role of a curatorial passion is something that you need to understand about your work... something along those lines.