REMLA: Sophie Jones Development III

October 11, 2017by sophiejonesNewsRoyal Engineers Museum and Archive (17/18)


Following feedback from my previous tutorial, I decided to re-develop the format of my project. Originally, it was my intention to focus on the narrative of my source material by presenting the work as a collection of torn-out pages, as if I were creating a collection of found documentation. However, on reflection this seemed to take away from the narrative of the work, and had the risk of becoming too like the original material. Consequently, I decided that it would instead be better to create a ‘hybrid’ journal, that pulled together a collection of different sources from the Royal Engineers Museum, Library and Archive (REMLA), instead of highlighting only one. In doing this, my initial proposal has changed and instead of placing emphasis on a story that already exists within the archive, it challenges that idea by producing a fabricated narrative in place of the real one. With this, my project has become more focused on the idea of storytelling, yet retains thoughts of discovering stories through past artefacts, that I feel echoed throughout my original proposal. Moreover, my new objective for the project offers the opportunity to take advantage of using colourization, as it can be used to direct the audience, as well as to suggest that all these images came from the same source, even when they did not.

In developing this, I have decided to display my images within their own journal, pulling photographs from C.W.L. Mason’s time in Mombasa, Kenya in 1942-43, and Lucy Mary Isabel Thompson’s images from across Europe during 1918-19. If I had more time I would have liked to have used more sources, however I think that these two create an interesting contrast through how different these locations are, as well as the dates the originals were taken. Moreover, I have decided to not include text or illustrations within my journal, as I want to keep the colourisation as the main feature of the work, as well as to leave the images open to interpretation, with only the suggestion of a narrative running throughout. Additionally, I have decided also not include the blue pages that I had originally intended to use, as it seemed to distract from the neutral tones of the colourised images, and have instead decided that black would work best alongside this. Lastly, I have also decided to use brown photo-corners to hold my images in place, as to suggest the idea of archival documentation, without expanding too far into that style. With this, I am hoping that my project will effectively illustrate ideas of storytelling, while also bringing life to the journals within the archive.

Sophie Jones