THE EXPERIENCE OF THE PHOTOGRAPHIC FRAME

Section III: The Body

Thesis submitted by

MARCIA WEBSTER

In partial fulfillment of the requirements for the degree of

Master of Arts in Expressive Therapies

LESLEY COLLEGE GRADUATE SCHOOL OF ARTS & SOCIAL SCIENCES

MAY 1, 2000

68

The Experience of the Photographic Frame Section III: The Body

by Marcia Webster

VII. The Body

• Warm-up........................................................................ 70 • Context.......................................................................... 71 • Integrity.......................................................................... 79 • Witness.......................................................................... 86 • Relational....................................................................... 92 • Evolution........................................................................ 100

IX. Response Ability and the Photographic Frame............................. 109 X. Conclusion..................................................................................... 112 XI. References..................................................................................... 114

Index of Images

Context Ludlow Mountain p. 72 From Inside p. 73 Mexico p. 74 Hawaii Hospitality p. 75 In the Water p. 76 Pussy Willow Tree p. 77 Integrity Arboretum Path p. 80 High Ridge Road p. 81 Mexican Baskets p. 82 Snow Sink p. 83 Green Horizon p. 84 Witness Hat p. 87 Statue series #1, #2 p. 88 Statue series #3 p. 89 Cambridge Trees p. 90

Relational Dancing p. 93 Chelsea p. 94 Greenhouse p. 95 River p. 96 Peeling Birch p. 97 Tree Family p. 98 Evolution Fall Leaf p. 101 Leaning Basket p. 102 Acadia Flowers p. 103 Roots p. 104 Worcester Tree #1 p. 105 Worcester Tree #2 p. 106 Worcester Tree #3 p. 107 Response Ability & the Photographic Frame Leap p. 111

69

The Body and the Show • Warm-up • Context • Integrity • Witness • Relational • Evolution

70

Warm-up “If I could tell the story in words, I wouldn’t have to lug a camera.” ----Lewis Hine (Sontag, 1978, p. 185) And if these photographs, in this over stimulated world, could cast a clear

enough, long enough, convincing enough shadow by themselves, I would not

have sought training in expressive arts therapy or written this thesis!

Throughout the thesis, images have been used to illustrate my life experience

and the research process. Here, I return to the photographic frame and to its

own place and process. This is where the body of my work is held. In the

framing and in the viewing of these photographs, I experience the four defining

factors of the photographic frame and can break them into eight types of

engagement. Their relationships are shown here as one rough circle within

another:

Context home place evolution Healing referent shift Integrity measure respect Relational reciprocity Witness

Donna and Daniel add their voices in support and in contrast. Quotes are taken

from full transcripts of the interviews, which can be found in the Appendix.

71

Context

Incorporates Place, Time, Home, Self, Subject

Start here. Does it land? Touch down move with confidence. Make places to be conscious of the universal law. Creating value is left to me. Here Here is fine. ---Marcia Webster 1-23-00

72

Lu

dlow

Mou

ntai

n, 1

989

On

top

of a

mou

ntai

n in

Ver

mon

t with

my

fam

ily, r

ecov

erin

g an

d re

plen

ishi

ng, I

foun

d a

plac

e of

mag

nific

ent

pers

pect

ive,

pro

tect

ion,

wat

er a

nd b

alan

ce.

Ove

r the

yea

rs, t

his

imag

e co

nsis

tent

ly a

ttrac

ts a

ttent

ion.

The

re is

a

satis

fyin

g “a

hhh”

, a fa

mili

arity

, abo

ut th

is p

lace

in th

is fr

ame.

73

From Inside, 1992 On my first camping trip as a practicing Buddhist. I had just spent about thirty minutes chanting and felt almost shy about photographing this image that had

captured my prayer. A place of fragile boundaries.

74

Mex

ico,

199

3 A

pla

ce o

f mor

e he

ight

, air,

ligh

t and

spa

ce th

an m

y N

ew E

ngla

nd

sens

es w

ere

accu

stom

ed to

. Ti

me

and

com

mun

ity li

nger

in th

e st

ones

.

75

Hawaii Hospitality, 1995 Here, I am horrified and awed by the persistent and lush growth of these trees,

roots covered by tiles and hemmed in by buildings. This place where things grow amidst concrete, glass and garbage fascinates me.

76

In the Water, 1996 An image that I took to feel part of. I was cold. Not connected, yet, to this place

or to these people. Framing warmed me to there/here, to where I enjoy and appreciate how we played.

77

Pussy Willow Tree, 2000 I suspected this place was there and wanted to find it. Stayed under those

branches and enjoyed the colors and the January buds. By now, I am thinking about frame and know that I am seeing the true frame of home and context, a

circle.

78

Donna’s Voice

Donna frames the world around her with the camera and uses alternative processes, “I’m always distorting things these days.” Donna’s context is her

interior experience. Photographing people “just hasn’t been where I’ve gone.”

“When I was really in the thick of it [with Lupus] I did a series of still life flowers. ...They are very soft, they are very peaceful looking.

So it affected the fact of the content.”

“I was really drawn to that ‘in the house’ stuff. I mean 80%, 50% that’s where I was. And that’s all I could do. But I also kind of liked that it was as safe place.”

“Some work I’m doing now is very abstract. The average person wouldn’t see the connection to healing, maybe, but it has to do with that process.

How when your body is chronically not working and you can’t depend on it, you are often pushed...to turn inward. You get more in touch with the spiritual, so that’s sort of what this work is about now, even though it is not coming from ...its

coming more from wellness.”

Daniel’s Voice

“There is something about starting with a full frame. The artistry has to do with selecting in and selecting out and selecting when. The perspective is around

taking time and realizing where I am.”

“One of the roles that I can play is putting a frame, a context to whatever is going on.... I don’t know that I would be as good, starting with nothing and creating

something”

Framing, to me, its just very deep, it’s very deep. The word and how I see it; I have to say that its very inclusive. There is something deeply spiritual about it.

There is also something very deeply pragmatic, not that the two aren’t part of the other. There is something in the essence, in the instant, very real in the moment.

Then there is something that is much more ephemeral, much larger, more abstract. I guess I enjoy holding both of those and even recognizing that both

exist and working for both and playing...It is a joy to think about this.

Context to Integrity

: Orientation to place and time allows for the the risk of sense and stimulation within the photographic frame.

79

Integrity

Incorporates Referent , Measure, Risk, Safety, Containment

“You adjust the paints’ values and hues

not to the world,

not to the vision,

but to the rest of the paint.”

--Annie Dillard (1989, p. 57)

80

Arb

oret

um P

ath,

198

6 I c

an s

till f

eel j

ust w

here

thos

e tre

es re

sted

on

the

fram

e, h

ow th

is im

age

ne

eded

to b

e ju

st a

s it

is. W

orki

ng v

ery

muc

h fro

m th

e ed

ges

tow

ard

the

cent

er.

Dar

k to

ligh

t.

81

High Ridge Road, 1987 Also framed very much from the edges toward the center.

The satisfaction of detailed, complicated, sophisticated visual and spatial pattern! Highly stimulating and containing in the same moment.

82

Mexican Baskets, 1993 A somewhat desperate attempt to find order in the chaos of market.

Shooting with color film, another source of overstimulation for me. It was difficult to move on from these earthy, cool, containers

83

Snow Sink, 1997 A journey on snowshoes difficult to begin and exhilarating and absorbing once I

set out and trusted that I was there. Stimulation from the sun, the cold, the white expanse of the frozen reservoir.

Was I breaking rules? Quiet, alone, full and focused.

84

Green Horizon, 1998

Not a lot of looking, easily framed, easily doubted. The balance and cadence of lively limbs and steady horizon arrived directly from this place to me, complete

with smell and color. I did not fully see this image until now.

85

Donna’s Voice

“I just picked up a camera because it was something I could do. In the living room I started really [laughing], catching the light in the afternoons...I

could do it for two minutes and then I could lie down again.”

“In the darkroom, everything is two minutes and two minutes and two minutes...

The measuredness of it was not an exhausting thing. It kept me with that focus. It was a meditation, really.”

Of our images, Donna remembers the framing,

“I tend to take more conventional, you know, the object somewhere in the middle. You did interesting things with the edges.”

Daniel’s Voice

“I think, most immediately, my sense of order, trying to make order out of chaos, draws me into a symmetrical photograph... I do have that centering moment and

then I deliberately try to de-center.”

I guess I’m always drawn to centering the situation. I guess that is true in my teaching. And then allowing myself, or choosing, to go off-center. That may

mean prodding or pushing or challenging...

“Life and photography for me... they are more one and the same than I would have thought. I find that very pleasing! Maybe that is why I am so drawn to it.”

Integrity to Witness

The edge of the photographic frame is an honest, trustworthy witness,

like the horizon. But there is a blurring. The photographer is no longer alone in taking the risk, in stepping away enough to fully experience the image.

86

Witness

Incorporates Re-spect, Looking again, Patience, Storytelling

“I always prefer to work in the studio. It isolates people from their environment. They become in a sense...symbolic of themselves. I often feel that people come to me to be photographed as they would go to a doctor or a fortune teller--- to find out how they are. So they’re dependent on me. I have to engage them. Otherwise there’s nothing to photograph. The concentration has to come from me and involve them. Sometimes the force of it grows so strong that sounds in the studio go unheard. Time stops. We share a brief, intense intimacy. But it’s unearned. It has no past...no future. And when the sitting is over---when the picture is done---there’s nothing left except the photograph...the photograph and a kind of embarrassment. They leave... and I don’t know them. I’ve hardly heard what they’ve said. If I meet them a week later in a room somewhere, I expect they won’t recognize me. Because I don’t feel I was really there. At least the part of me that was...is now in the photograph. And the photographs have a reality for me that the people don’t. It’s through the photographs that I know them. Maybe it’s in the nature of being a photographer. I’m never really implicated. I don’t have to have any real knowledge. It’s all a question of recognitions.”

Richard Avedon (Sontag, 1977, p. 187)

87

Hat, 1989 Intensely aware and removed while sorting and reflecting each

texture, the isolation, the rain and snow. Traveling each path and angle repeatedly in the viewfinder, the darkroom, under mat and glass, in each viewing, through many other eyes.

Today, in 2000, I acknowledge the “Do Not Enter” sign on the hat.

88

S

tatu

e S

erie

s (#

1, #

2 of

3),

1992

E

xpos

ed, i

n th

e vi

ew o

f oth

ers.

A s

ense

of f

inal

ity a

s th

e su

n le

ft us

, col

d,

just

touc

hing

her

kne

e, o

n th

e la

st d

ay o

f our

sho

ot.

89

Sta

tue

Ser

ies

(#3

of 3

), 19

92

90

Cambridge Trees, 2000 I recognize my clients. Thriving with unconscious grace in the city. The sun shining uninhibited on smooth glass and light gray skin.

Windows watch, revealing nothing, reflecting everything.

91

Donna’s Voice

“I was trying to deal with aging and myself and so I did nude photographs [self-portraits] because aging would certainly show up most that way. Secondly, the focus was on affirming the natural body...I gave myself

an emotion like ‘fear’ and then I would see what my body did. To have it be somewhat spontaneous.”

“I love that process of just isolating something through a lens...somewhat the

same process that you do in a therapy session. You’re focusing... One of the gifts of Gestalt is that you’re not limited to the words...

We sometimes aren’t able to tell all the truth with our words. Those extra dimensions that I pick up by looking at someone and listening to the tone of

voice...the body movement, the subtle gestures...the same thing that drew me to use a camera and like it.”

Daniel’s Voice

In response to the question, “What do you tend to take pictures of?” Daniel replies, “People in an environment where they are engaged in an

activity....The dynamics of motion, of people, of people in motion... Catching the energy or the serenity of a place.”

“So when I think about framing, I’m thinking both on a very pragmatic, practical level about who, what where, when, how; but I’m also thinking about what is it

that is particularly moving me. ...Also, what is my connections to it? So, again, it is an emotional thing for me that goes beyond simply point and shoot.”

“That’s what I wanted. That’s what I wanted....I wanted to catch him in mid-step.

I had to wait for that moment...”

Witness to Relational

Subtle, this change! All of these factors are founded on relationships. Here, the perspective of the witness becomes intimate once again. The photographer

is vulnerable and participating directly in an intimate dialogue.

92

Relational

Incorporates Reciprocity, Dialogue, Responsibility

Be still with yourself Until the object of your attention

Affirms your presence.

---Minor White (1978, p. 122)

Number Two: Responding I am present, approaching an edge. You respond with respect and attention and care. Being seen again and again, re-sponding. I struggle and shift so close to myself, to you, to the universal law. The earth, sea, and light pressing back. Our meeting amplified by curiosity and a thin fear Intense where it becomes courage. The precious breath of connection seen, responsive and respected. ---Marcia Webster January 2000

93

Dancing

The oldest image in this thesis. A circle of motion on the beach, made beautiful by leaks of light into the old camera. The image rises to a place where I can see

it and my cat can chew on it every few years.

94

Chelsea. 1986

How I loved this little girl, my first subject, with my new way of being through the photographic frame! Open, needy, immediate, sturdy, feet.

95

Greenhouse, 1994 Taken at Wellsley College the year that I attended their Colloquium series on the

Relational Model of development and counseling, one year into my own individual therapy. This image was all of that. I gave it

to my therapist as a gift.

96

R

iver

, 199

6 I r

ecal

l the

ene

rgy

mov

ing.

Me,

the

river

, pat

ienc

e an

d kn

owin

g ho

w th

e w

ater

wou

ld s

moo

th o

ver t

he fi

lm.

A

lot g

oing

bac

k an

d fo

rth fr

om th

e tw

iggy

littl

e br

anch

nea

r me

to th

e tre

es, j

ust v

isib

le o

n th

e ot

her s

ide.

97

Peeling Birch, 1996 Stopped in my tracks. Vulnerable, supported? among a community of similarly strong birches.

98

Tr

ee F

amily

, 199

7 Tr

ees

embo

dy th

e hu

man

exp

erie

nce

for m

e, in

slo

w m

otio

n an

d w

ith s

tunn

ing

grac

e.

Her

e, a

ttend

ing

to th

e gr

ound

, to

the

plac

e w

here

this

par

ticul

ar g

roup

gat

hers

and

gro

ws

from

.

99

Donna’s Voice

Donna describes her client’s experience, “I worked with her for several years and childhood memories

were really hard to come by. We did all sorts of things. One of the most effective things was looking at the few photographs that were salvaged with her. And I think maybe that she was very attuned, too, to the

visual. By that time she was looking at the subtlest things; like the way she was standing the way she placed herself relative to her parents, the way her body was held. There was quite a bit there that somebody maybe

who hadn’t had a lot of therapy and wasn’t visual would not notice. But that was very useful to her.”

Daniel’s Voice

“What I hope for is a sense of engagement. Even in the most routine things...”

“I’m aiming to do something there that brings the looker, the interpreter,

to a place where they’re questioning, ‘How does that relate to me? What do I like about that? What do I dislike?

What is comfortable, What is uncomfortable?’”

“The best art has a story that you want to hear or you want to read or you want to see as an interpreter. It brings you into some kind of dialogue between the

experience that is out there, the photograph, and the experience of what is inside.”

Relational to Evolution

From the interactive relationship held by the photographic frame, there can be a

sensation of shift and movement in the body and in orientation. The photographer engages with an image and recognizes, on some level, the

personal and eternal nature of change which persists over time, life and death.

100

Evolution

Incorporates Change, Shift, Past, Present, Future

35th Birthday-eve Thrashing about with anxiety loud in my ears twisting my gut. The hell and hunger of anticipation. Jump as my feet meet the ground of fear. I must stand. My head quiets and my gut uncoils. It is the same doubt. No need to be anxious. The ebb and flow of faith is familiar details unknowable. My heart meets the moment with the strength of hell and the Buddha ---Marcia Webster June 1999

101

Fall Leaf, 1990 Just one precious leaf unique and whole just now. About to let go,

join the many, many turning to dirt.

102

Leaning Basket, 1993 I turn my frame, so briefly, to see the unpredictable ebb and flow. A rush of

letting go to find rhythm and tension in the chaos.

103

Acadia Flowers, 1998 As I shoot, I realize that these flowers are dead, it is August. But the bees still come. It is a new challenge for me to try and keep up with the wind and the

creatures. There is no question that the flowers will return.

104

Roots, 1999 Young tree people approaching with a reach into the depth and breadth of

eternal things. Exposed and fearless.

105

Wor

cest

er T

ree

Ser

ies

(#1

of 3

), 19

99

My

good

-bye

to W

orce

ster

’s C

ryst

al P

ark.

Mov

ing

up a

nd d

own

the

hill,

mem

orie

s fo

llow

and

lead

.

Aw

are

of th

e lit

ter a

nd d

rugs

. R

eadi

ng, w

atch

ing,

bre

athi

ng.

Taki

ng ti

me

with

the

sun,

the

trees

and

sky

.

106

Wor

cest

er T

ree

Ser

ies

(#2

of 3

), 19

99

107

W

orce

ster

Tre

e S

erie

s (#

3 of

3),

1999

108

Donna’s Voice

“An emotion is shown through movement...It begins here, it goes there, there is the fullest point, the decisive moment, if you translate it into photographic terms, and then it recedes and then something else comes up, its a cyclical thing. So I

was trying to capture with the camera that process so you see not just a held position but you see the flow.”

I’m not using the special gift of the camera, to capture more about objective

reality, if there is such a thing...That becomes limiting in a sense, yes. I like it to some extent, but feel that art is...I’d be like a kid at a banquet. I could never make a decision and I’d get indigestion all the time. Photography limits me,

at least. I do all the alternative processes, practically.

“Now I want to try a bunch of other things, but I also like to show my art, sell my art. I feel like you have to stick with the same medium, vaguely, for people to

give you some credibility. “

“I’ve been in this women’s artists group for the past several years...Their gift has been incredible. They give me ideas and then I don’t know how to do the things

so they have to show me how to do what they suggested...I feel like I should learn to do the damn Photo Shop. I’m sure it would be good, but machines are

hard for me.”

Daniel’s Voice

Daniel challenges the viewer and himself to seek the mystery still to be uncovered in an image, “So it is a three-way conversation. I don’t make an assumption about any one of them [myself, the person or persons and the

environment.]”

“If I can hook them in a dialogue, than I feel like it’s made a difference.”

“As a teacher, as an educator...it has to do with what you are trying to elicit, both in terms of a product and a process. What are you trying to draw out?”

“It is a question of trying to see within that which is there and make something

richer of it. Cause people to question.”

Evolution returns to Context

Whether shifting to a new orientation or meeting again where the framing process began, photographer and context have traveled together on a journey

that is validated by the photographic frame.

109

Response Ability and the Photographic Frame

This is a discussion about how engaging with the photographic frame aids in

developing the sensory and imaginative abilities needed to respond fully to one’s

life and circumstances. A photographer’s experience and relationship with the

photographic frame has a unique capacity to support therapeutic growth and

change. This process may focus on becoming oriented to context, place and

time. Seeking and recognizing “home” while framing and in the therapeutic

process is a reoccurring theme in the research and in the literature review.

A photographer’s framing experience may be primarily about sensory stimulation,

risk and containment. At other times, the witnessing presence of the frame in

relation to the field, or, the presence of a witness within the field of the image

field may be the most important therapeutic element in the framing experience.

Each of these examples of therapeutic processes are possible through the

photographic frame and each requires being in relationship.

The therapeutic elements of the photographic frame make it a tool with

tremendous potential for improving the quality of life of individuals and of

communities, particularly where clinical therapy is not a choice or is not available.

The photographer has some control over the relationships between self, context

and perspective while framing, but s/he is, finally, taking the risk of inserting

themselves into a place s/he might not otherwise tread. Despite the appearance

of distance between photographer and subject, the frame is actually a place

where immediate multi-sensory and intimate relationships are experienced.

Most therapies and trauma theory identify that the more someone is able to be

present for difficult images, to mourn and to struggle and to stay connected in the

process, the less likely they are to get lost and become overwhelmed, the next

time those images appear. The more engaged someone can be with the whole

of their experience, the less overpowering that experience becomes. The

110

photographic frame offers a particularly safe and steady witness to experience. It

supports the process of digesting memory in the here and now within known

parameters.

The theme of seeking the “decisive moment” in photography and of experiencing

and understanding one’s feelings and needs in therapy come together in the

concept of recognizing “home”. Home refers to the sense, sometimes elusive, of

being in the right place at the right time in relation to others and to the larger

universe. There are many obstacles on that journey. Photographers experience

being shaken to the edges, frustrated by technical problems, off-center, and

alone in their travels. The process is essentially the same in therapy. Through

the photographic frame, photographers, including myself, found that they could

keep moving. A sense of efficacy in developed through using the photographic

frame. An excitement and vitality is fostered in the process of relating from the

place of the photographic frame. Clients and therapists engaged in the

therapeutic process may experience a similar revival of their senses and a shift in

perspective.

The foundations of expressive arts therapy and public health practice are

supported and furthered by the principles that have emerged in this thesis. The

arts are where people know and risk exposing their strengths and their

experiences. The nature of the framing process and the therapeutic value of

sensory experience are found in the principles of prevention and of healing.

Emerging from his many years of dance and leadership, Bill T. Jones (Boston,

2000) pulls these ideas together as he describes the five ways that he

approaches life:

1. Live in the moment 2. Appreciate the small things 3. Build community 4. Live with passion and purpose 5. Make realistic goals and be ready and able to change them

111

Jones describes dance as “moving people and things in space and time.”

These principles and Jone’s understanding of the physical and relational nature

of life corresponds to the findings of this thesis.

The experience of seeing through the photographic frame, like therapy and

expressive arts therapy, in particular, can bring people closer to a sense of safety

and to the experience of being home. In moving from one place and perspective

to another, attending to one’s own experiences and guided by the photographic

frame, one’s capacity for understanding other perspectives is expanded. From

this experience, people are more able to process pain and loss. From this larger,

grounded perspective, threats to one’s safety are less likely to be perceived and

violence a less likely reaction.

Leap, 1992

112

Conclusion I began this thesis seeking to understand the experience and the nature of the

photographic frame in my life and in relation to my training as an expressive arts

therapist. I had an intuitive understanding that the frame of photography was a

significant source of strength for me. Fairly quickly in the research, it became

clear that the photographic frame correlated quite closely to the therapeutic

process. But I did not want to focus my work in the context of clinical photo

therapy or pathology. I designed the thesis as an artistic presentation, a “story”,

in order to appeal to an audience beyond the expressive arts therapy community.

I focused my efforts on reading literature, reviewing my photographs, shooting

and writing. I interviewed two other photographers, each offering invaluable

insight into the topic of photographic frame. Once I had identified the four

defining factors of photography, I was able to gather and present the “stories”

that came out of the interviews and reading. These themes moved together into

one piece:

• The photographic frame is introduced by the photographer to a context. Including place and home • The physical nature of the photographic frame has integrity. Including revision and measure • The photographic frame acts as a witness to the photographer’s experience

of place, time and sensation. Including respect and referent • The act of framing a photograph is relational. Including reciprocity Each of these defining factors can support evolution, change and the experience

of shift for the photographer and the viewer. The thesis concludes with a

literature review and a discussion leading to the public health implications of the

thesis.

113

I have found tremendous satisfaction from delving deeply into my own and other

peoples’ experiences with the photographic frame. The challenge of articulating

a non-verbal experience has been valuable for me and for others. The process

of defining the photographic frame and of delineating the body of the thesis

opens new and wider avenues for current experience and future projects. This

thesis inspires me to share my photographs and new insights in a show or

installation in the near future. I hope that this work on the photographic frame, in

this thesis or in another format, will encourage people to appreciate and create

places where they can explore and enjoy and expand on their sensory skills and

experience.

Completing this thesis deepens my appreciation for the strengths and desires I

bring to my work as an artist and a healer. The project has supported my efforts

to make sense of my creative and professional work in unexpected ways. My

internship as an expressive arts therapist has given me the opportunity to see

how the photographic frame can impact clients in a substance abuse program.

By bringing the camera to an open arts studio setting, I was able to call attention

to the connections clients were making to their framing/therapeutic processes.

Being persistent and able to notice and to respond is something that the

photographic frame has fostered in my professional and personal relationships.

It is a valuable offering.

From here, I hope to continue meeting and sharing with people interested in the

topics of photographic frame and the art and therapy of space, sensory

experience and relationships. I would like my professional home to continue

expanding beyond expressive arts therapy to include the worlds of

echopsychology, public health policy and education, trauma theory and

prevention. Some of my first efforts will be toward meeting other photographers

involved with these issues. I look forward to more work and joy as an artist in my

community. I extend my appreciation to the many and diverse people who have

encouraged me with their experiences of creation and collaboration.

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References

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