{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/37199"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/37199","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"Making space: photographic traces of absence, stillness and the in-between in public spaces","abstract":"My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within the broader context of photography and architecture, looking specifically at the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975) and affiliated photographers to highlight ideas about photographically documenting built structures. The visual language of the deadpan aesthetic is an important aspect of my work, and I elaborate on and explore “neutral” and “objective” ways of seeing. I consider a selection of photographers to establish various ways in which imagemakers use a formalistic photographic approach to communicate narratives through the representation of built structures. I expand on a phenomenological approach to making images, exploring notions of tenderness, care, alienation and violence. In the second section of the document, (Dis)Locating my Practice and Making Space, I position myself within the identified terrain to further explicate my practice and project. The physical project takes the form of silver gelatin handprints, larger inkjet prints and a video projection, and I discuss the method of display and curation of the exhibition and how they motivate ways of looking, slowness and intimacy.","abstract_html":"My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within the broader context of photography and architecture, looking specifically at the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975) and affiliated photographers to highlight ideas about photographically documenting built structures. The visual language of the deadpan aesthetic is an important aspect of my work, and I elaborate on and explore “neutral” and “objective” ways of seeing. I consider a selection of photographers to establish various ways in which imagemakers use a formalistic photographic approach to communicate narratives through the representation of built structures. I expand on a phenomenological approach to making images, exploring notions of tenderness, care, alienation and violence. In the second section of the document, (Dis)Locating my Practice and Making Space, I position myself within the identified terrain to further explicate my practice and project. The physical project takes the form of silver gelatin handprints, larger inkjet prints and a video projection, and I discuss the method of display and curation of the exhibition and how they motivate ways of looking, slowness and intimacy.","abstract_has_math":false,"creators":["Fraser, Nicole Clare"],"institution":"Michaelis School of Fine Art","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Josephy, Svea","Inggs, Stephen"],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022","date_published":"2022","updated_at":"2026-07-22T22:22:51Z","subjects":["Fine Art"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/37199","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Josephy, Svea","Inggs, Stephen"]},{"key":"dc:creator","label":"Author","values":["Fraser, Nicole Clare"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2023-03-03T11:10:14Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2023-03-03T11:10:14Z"]},{"key":"dc:date.issued","label":"Date","values":["2022"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Michaelis School of Fine Art"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters","MFA"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Fine Art"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/37199"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within the broader context of photography and architecture, looking specifically at the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975) and affiliated photographers to highlight ideas about photographically documenting built structures. The visual language of the deadpan aesthetic is an important aspect of my work, and I elaborate on and explore “neutral” and “objective” ways of seeing. I consider a selection of photographers to establish various ways in which imagemakers use a formalistic photographic approach to communicate narratives through the representation of built structures. I expand on a phenomenological approach to making images, exploring notions of tenderness, care, alienation and violence. In the second section of the document, (Dis)Locating my Practice and Making Space, I position myself within the identified terrain to further explicate my practice and project. The physical project takes the form of silver gelatin handprints, larger inkjet prints and a video projection, and I discuss the method of display and curation of the exhibition and how they motivate ways of looking, slowness and intimacy."]},{"key":"dc:title","label":"Title","values":["Making space: photographic traces of absence, stillness and the in-between in public spaces"]}]}],"canonical_facts":{"dc:contributor.advisor":["Josephy, Svea","Inggs, Stephen"],"dc:creator":["Fraser, Nicole Clare"],"dc:date.accessioned":["2023-03-03T11:10:14Z"],"dc:date.available":["2023-03-03T11:10:14Z"],"dc:date.issued":["2022"],"dc:description.abstract":["My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within the broader context of photography and architecture, looking specifically at the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975) and affiliated photographers to highlight ideas about photographically documenting built structures. The visual language of the deadpan aesthetic is an important aspect of my work, and I elaborate on and explore “neutral” and “objective” ways of seeing. I consider a selection of photographers to establish various ways in which imagemakers use a formalistic photographic approach to communicate narratives through the representation of built structures. I expand on a phenomenological approach to making images, exploring notions of tenderness, care, alienation and violence. In the second section of the document, (Dis)Locating my Practice and Making Space, I position myself within the identified terrain to further explicate my practice and project. The physical project takes the form of silver gelatin handprints, larger inkjet prints and a video projection, and I discuss the method of display and curation of the exhibition and how they motivate ways of looking, slowness and intimacy."],"dc:identifier.uri":["http://hdl.handle.net/11427/37199"],"dc:publisher.department":["Michaelis School of Fine Art"],"dc:subject":["Fine Art"],"dc:title":["Making space: photographic traces of absence, stillness and the in-between in public spaces"],"dc:type":["Master Thesis"],"dc:type.qualificationlevel":["Masters","MFA"]},"updated_at":"2026-07-22T22:22:51Z"}