A Day Dream, Angus McBean, 1938, UK. Museum no. PH.25-1981. © Victoria and Albert Museum, London

www.npg.org.uk. (n.d.). Angus McBean Portraits – National Portrait Gallery. [online] Available at: https://www.npg.org.uk/business/publications/angus-mcbean-portraits.php

Angus McBean (1904-90) was one of the most extraordinary British photographers of the twentieth century. In a career that spanned the start of the Second World War through the birth of the ‘Swinging Sixties’ to the 1980s, he became the most prominent theatre photographer of his generation and, along with Cecil Beaton, the last of the British avant-garde studio photographers.

During the 1930s and 1940s, McBean developed Surrealist techniques, including the depiction of the actress Dorothy Dickson as a water lily. Yet his style kept pace with the times and by the 1950s and 1960s he was taking photographs of celebrities from Cliff Richard to Shirley Bassey. Arguably his most famous image is of the Beatles, leaning over the balcony at their recording studios, which was used on the album cover Please Please Me. His celebrated series of self-portraits, which he sent out as Christmas cards, capture his witty and eccentric personality, while his numerous photographic commissions in the 1980s – including his work with the pop singer David Sylvian – demonstrate his inventiveness and creativity.

Barnebys.com. (2015). Surreal Glamour: The Photography of Angus McBean | Barnebys Magazine. [online] Available at: https://www.barnebys.com/blog/surreal-glamour-the-photography-of-angus-mcbean

Born in Wales in 1904, McBean loved cinema from a young age. It inspired him to buy his first camera at the age of 15, and he would practice on his family and friends. He moved to London in 1924, working for seven years for Liberty’s before beginning his career as a theatrical model and mask-maker, whilst still experimenting with photography on the side. An exhibition of his models and early photographs shown at the Private’s Den, a basement tea shop on Maddox Street in London, caught the eye of the society photographer Hugh Cecil , who offered him work.

Cecil’s connections led to introductions to the London theatrical world, and McBean was commissioned to design scenery and props for john Gielgud’s production of Richard of Bordeaux in 1933. However, his big break came when he was asked to make masks for Ivor Novello in an adaptation of Max Beerbohm’s The Happy Hypocrite. At Novello’s insistence, McBean took close-up portraits of the cast which appeared in all the leading reviews and launched his career as one of the leading theatre photographers of his age.

After a difficult war, McBean re-established his studio in London and created a new series of ‘Surrealist Portraiture’, incorporating clever theatrical tricks to create effects, but nevertheless, they were still straight photographs. Another assimilation with modern art of the period was his use of montage and collages, Ivor Novello appearing in 1947, crowded and leaning on his own writings, and Cecil Beaton swamped in his books, photographs and drawings whilst somewhat sinisterly holding a pair of long-bladed scissors, a reminder of Beaton’s cutting remarks.

en.wikipedia.org. (n.d.). Angus McBean. [online] Available at: https://en.wikipedia.org/wiki/Angus_McBean

In 1925, after his father’s early death from tuberculosis, contracted in the trenches during the First World War, McBean moved with his mother and younger sister Rowena to a three bedroomed cottage at 21 Lowfield Road, West Acton. For the next seven years he worked for Liberty’s department store in the  antiques department learning restoration, while his personal life was spent in photography, mask-making and watching plays in the West End theatre. In 1932 he left Liberty’s and grew his distinctive beard to symbolise the fact that he would never be a wage-slave again.

McBean resultantly became one of the most significant portrait photographers of the 20th century, and was known as a photographer of celebrities. In the spring of 1942 his career was temporarily ruined when he was arrested in Bath for criminal acts of homosexuality. He was sentenced to four years in prison and was released in the autumn of 1944. After the Second World War, McBean was able to successfully resume his career.

In 1945,  McBean set up a new studio in a bomb-damaged building in Endell Street,  Covent Garde.  He sold his Soho camera for £35, and bought a new half-plate Kodak View monorail camera to which he attached his trusted Zeiss  lenses. McBean was commissioned first by the Stratford Memorial Theatre to photograph a production of Anthony and Cleopatra, and all his former clients quickly returned. Through the late 1940s and 50s he was the official photographer at Stratford, the Royal Opera House, Sadler’s wells, Glyndebourne, the Old Vic and at all the productions of  H.M. Tennent, servicing the theatrical, musical and ballet star system.

Photo Analysis:

This montage is quite original, it’s clear that this was setup in a studio and nothing was really edited in. For example the lady is sat in a basket and isn’t added in by a computer, just like the hand holding a mirror supporting the women to see herself better. The background also seems to be painted on which makes the overall image look really original and different to other photos. I really like how this photo has a high contrast and is in black and white to avoid any type of colour to pop through and distract the audience. It is clear that the lady in the basket is looking at herself in the mirror held by a different hand, though this overall photo looks very unusual and it isn’t something that you would see everyday. I really like how this photo is original and doesn’t really have a lot of technology used to make this photo, I also really like the small detailing like the little boat in the water next to the lady. It almost gives the effect that the lady really is in water in a lake and is stuck in a basket quite unfazed and just looking at herself in the mirror. This image was produced by Angus McBean a surrealist artists, his work shows a good understanding of surrealism and how unusual it looks, the idea that surrealism is like a dream and produces something extraordinary. This photograph has loads of details added to help make this photo more unusual and different from what we see in the everyday world. For me i quite like how the background of the photo is painted and almost gives off a really peaceful and quiet vibe as the painting is very smooth and relaxing to look at whereas further down where the lady is presented the rocks tend to look very rough and beaten up, it adds a contrast to the photograph, a mixture of peace and war is added to make the audience feel like they are floating above reality and wondering what is present or not. There are really dark shades used in the image round the corner of objects to try and uplift them and make them more noticeable. this photograph is really well detailed and I really like how they haven’t added too much detail or too many random things as it would distract the audience and make the photo look too distracting and painful to look at. The artist has kept to a theme and added certain props that would fit in well with the photo. Such as the rope tied around the basket and in the painting there are small boats and fences along with mountains, there is almost a sense that the sun is setting as there is a beam of light coming form the low left side of the photograph. and the rest of the background seems to be quite dark and less uplifting. I really like that effect as if there wasn’t a background I would suggest that this photograph was produced in the day time as the rest of the photo looks quite light and vibrant but that’s the look surrealism gives, it throws the audience around to make them believe things that aren’t real. Overall this photograph is really well presented and shows the audience that surrealism is a mixture of the truth along with a few lies. That it’s a mixture of the subconscious mind and the reality we face everyday, our brains create a sense of reality with other factors effecting it.

Dada  (/’da:da:/) or Dadaism was an anti-establishment art movement that developed in 1915 in the context of the Great War and the earlier anti-art movement. 

Hugo Ball, 22 February 1886 – 14 September 1927) was a German author, poet, and essentially the founder of the Dada movement in European art in  Zurich  in 1916. Among other accomplishments, he was a pioneer in the development of sound poetry.

Dada emerged from a period of artistic and literary movements like  Futurism, Cubism and Expressionism; centered mainly in Italy, France and Germany respectively, in those years. However, unlike the earlier movements Dada was able to establish a broad base of support, giving rise to a movement that was international in scope. Its adherents were based in cities all over the world including New York, Zürich, Berlin, Paris and others. There were regional differences like an emphasis on literature in Zürich and political protest in Berlin

Prominent Dadaists published manifestos, but the movement was loosely organized and there was no central hierarchy. On 14 July 1916, Ball originated the seminal Dada Manifesto .  Tzara wrote a second Dada manifesto, considered important Dada reading, which was published in 1918. Tzara’s manifesto articulated the concept of “Dadaist disgust”—the contradiction implicit in avant-garde works between the criticism and affirmation of modernist reality. In the Dadaist perspective modern art and culture are considered a type of  fetishzation  where the objects of consumption (including organized systems of thought like philosophy and morality) are chosen, much like a preference for cake or cherries, to fill a void.

The shock and scandal the movement inflamed was deliberate; Dadaist magazines were banned and their exhibits closed. Some of the artists even faced imprisonment. These provocations were part of the entertainment but, over time, audiences’ expectations eventually outpaced the movement’s capacity to deliver. As the artists’ well-known “sarcastic laugh” started to come from the audience, the provocations of Dadaists began to lose their impact. Dada was an active movement during years of political turmoil from 1916 when European countries were actively engaged in World War I, the conclusion of which, in 1918, set the stage for a new political order.

Wikipedia Contributors (2025). Dada. Wikipedia

Subversive and irrelevant, Dada, more than any other movement, has shaken society’s notions of art and culture production. Fiercely anti-authoritarian and anti-hierarchical, Dada questioned the myth of originality, of the artist as a genius, suggesting instead that everyone should be an artist and that almost anything could be art. Surrealism, constructivism, Lettrism, situationism, Fluxus, pop and Op Ar, conceptual Art and Minimalism: Most twentieth-century Art movements after 1923 have traced their roots to Data. Dada works still have as radicality and freshness that attracts today’s culture jammers and disrupters of life as usual.

Dietmar Elger and Uta Grosenick (2016). Dadaism. Koln, Germany Taschen.

Kuenzli, R.E. (2015). Dada. London: Phaidon.

Hannah Hoch:

Hannah Höch: 1 November 1889 – 31 May 1978) was a German Dada  artist. She is best known for her work of the Weimar  period, when she was one of the originators of photomontage.  Photomontage, or fotomontage, is a type of collage in which the pasted items are actual photographs, or photographic reproductions pulled from the press and other widely produced media.

An important element in Höch’s work was the intention to dismantle the fable and dichotomy that existed in the concept of the “New women”: an energetic, professional, and androgynous woman, who is ready to take her place as man’s equal. Her interest in the topic was in how the dichotomy was structured, as well as in who structures social roles.

Other key themes in Höch’s works were androgyny, political discourse, and shifting gender roles. These themes all interacted to create a feminist discourse surrounding Höch’s works, which encouraged the liberation and agency of women during the Weimar Republic (1919–1933) and continuing through to today.

Wikipedia Contributors (2019). Hannah Höch. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Hannah_H%C3%B6ch

In 1912, Hannah Höch began to study at the Kunst-gewerbeschule in Berlin. Later she transferred to the Staatliche Lehranstalt des Kunstgewerbemuseums. In 1915, during this period, she met Raoul Hausmann. Both were at that time associated with the circle centring on Herwarth Walden’s gallery Der Sturm. Through, Hausmann, she subsequently made the acquaintance of the Berlin Dadaists. Johannes Baa-der gave her the title “Dadasophess”, a friendly allusion to her lover, the “Dadasopher” Raoul Hausmann. The “h” at the end of her first name was added by Kurt Schwitters in 1921, on the grounds that it made her name palindromic, like the Anna in his Merz poem “An Anna Blume’.

Hannah Höch was a collector. In her hidden-away summerhouse in her garden in the Heiligensee district of Berlin, she assembled numerous documents, materials, and records of Dadaism, arranged them according to a system comprehensible only to her, and thus preserved many ephemeral witnesses to the movement over the decades. After her death in 1978, the Berlinische Galerie acquired the archive and arranged it on more scholarly principles. This 1922 collage My Domestic Mottoes (Meine Haus-sprüche) is also a collection of Dadaist souvenirs. The Dadasophess Hannah Höch was never a theoretician. She preferred to leave definitions of position to others, first and foremost her lover Raoul Hausmann. The collage also has room, however, for many other of her friends and fellow-Dadaists. My Domestic Mottoes is Hannah Höch’s little ironic self-portrait as reflected in quotations from Kurt Schwitters, Hans Arp and Johannes Baader. The collage comes across as a sort of pin-board, on which the background is formed by various papers with decorative patterns, photographic depictions, scientific illustrations and a detail of a map. The mechanical motif of the ball-race appears here too. And once again she has not so much composed her materials as simply added them one after the other. As already in the Incision with the Dada Kitchen Knife through Germany’s Last Weimar Beer-Belly Cultural Epoch, the beholder can find her self-portrait here too, hidden between the other elements of the collage. On top of the papers stuck to the cardboard, Hannah Höch has written some pithy Dadaist slogans and signed them with the names of their authors. “Only an undecided mixture is dangerous” derives from Raoul Hausmann; “Let them say they don’t know where the church tower stands” is a quotation from Kurt Schwitters’ poem “An Anna Blume”. And the insight “Dada polices the police” is due to Richard Huelsenbeck. It is through these slogans, carefully written out in neat handwriting, that the work gets its vitality. By 1922 the Berlin Dadaist movement had already broken up. Its individual members had begun to go their own ways or to forge new coalitions. One such project in September of that year was the “International Congress for Constructivists and Dadaists”, held at the Bauhaus in Weimar. Hannah Höch’s personal relationship with Raoul Hausmann also broke up. In her Domestic Mottoes she had united all the Dadaists once more: Hans Arp from Zurich, the Hanover Merz artist Kurt Schwitters, and the Berliners Richard Huelsenbeck, Walter Serner and Raoul Hausmann. She herself is looking somewhat shyly from behind a pale grid. The collage preserves those Dadaist mottoes which were to accompany her artistic work in the subsequent decades of her life. Even though in the future Hannah Höch was to devote much more of her time to painting once more, the principle of photomontage and collage continued to characterize her artistic output.

Kuenzli, R.E. (2015). Dada. London: Phaidon

“I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.”

Photo Analysis:

Although this isn’t a photograph, and it is a montage, it helps to see what artists back in the day used to do with their art. I really like how they place some random objects together, the aim of Dada is to challenge the social norms of society, and purposefully make art that would shock, confuse, or outrage people. It’s seen as a different style of art. Dada was an art movement formed during the First World War in Zurich in negative reaction to the horrors and folly of the war. The art, poetry and performance produced by Dada artists is often satirical and nonsensical in nature. I really like how the background of the photo is bright and elevating, it adds a contrast to the rest of the objects in the surroundings. This montage is clearly showing the power of different objects put together and it shows a sense of make believe things put together. The whole aim of Dadism is to capture the horrors and the truth of the second world war and this photo is doing exactly that. The people seems to be wearing some sort of armour, something a soldier would wear in the war. Though there is also another person who seems to be wearing some sort of dress, there body has been messed around with and slimmed down. Almost as if different peoples bodies have been put together, at the bottom of the image there is grass that has been put in black and white. Most of the objects added to this montage are quite colourless and faded away and the bright background helps to bring everything else back to life. The first person on the left is clearly wearing an armour suit with a sword but has miss proportioned legs and feet compared to the rest of the body. The use of the arms adds emotions, some sort of worry or caution to the surroundings, while the face is a mask, the person is hiding their identity or possibly hiding from the world of war, they are trying to escape the reality whereas the person on the right is clearly some kind of dancer or ballerina, the use of the big puffy skirt, with the slim waist and the expression on the face, all together both people have different types of purposes on this page, just like they did back in the past, men during the war had to fight and not show any of their fears, they had to put on a mask and fight for their country whereas stereotypically women stayed at home and did the cooking, they didn’t have to get their hands dirty. This could be the representation that the artists is trying to put out. Though I’m not too sure what the grass could represent between the two people. For the person on the left the grass could be a symbol of a familiar surrounding, as the war is mainly outside on a battle field surrounded by the grass, but for the other person on the right I’m not too sure what the grass could represent, it could be a symbol of the happiness before or after the war, the idea that war is finished and the grass is slowly becoming healthy again or that before the war the grass was an important factor to that specific country, it could also just be the ground so that the people aren’t floating. Overall I would say that this photo has an interesting representation of the war and uses quite dull colours to represent the dark time and the background being bright makes everything else stand out and look more visible.

What is Dadaism? Some explanations and definitions. (n.d.). Available at: https://learn.ncartmuseum.org/wp-content/uploads/2019/01/What-is-Dadaism_0.pdf

“Strange shapes, floating body parts and bizarre landscapes: the Surrealists sought to challenge notions of normality through the power of photography.“

Surrealism began in the wake of the First World War, when the horror and violence experienced by so many had shifted perceptions of sanity and reality. The movement was immortalised by the French writer André Breton, who published the first Surrealist Manifesto in 1924. This rejected rational ways of seeing the world, looking instead to dreams and the imagination for inspiration. Breton believed that creativity had been weighed down by the drudgery of the day-to-day and sought to release the subconscious power of the dream-like state. Surrealism embraced the absurd, the unconventional, and the shocking.

Surrealist principles presented an exciting challenge for photographers – while a painter can pluck from their imagination with brush and paint, a photograph is derived from the real, material world. Using a variety of processes and techniques such as photomontage (combining diverse photographic images to produce a new work), solarisation (exposing a partially developed photograph to light), and photograms (a cameraless photographic technique), photography soon emerged as a powerful medium for demonstrating Surrealist ideology.

Photographs of a photo-collage taken from the book Aveux non Avenus, Claude Cahun and Marcel Moore, taken from a collage made 1930, printed 2004. Museum nos. E.714-2005, E.716-2005. © Victoria and Albert Museum, London

Surrealism was officially launched as a movement with the publication of poet André Breton’s first Manifesto of Surrealism in 1924. The Surrealists did not rely on reasoned analysis or sober calculation; on the contrary, they saw the forces of reason blocking the access routes to the imagination. Their efforts to tap the creative powers of the unconscious set Breton and his companions on a path that carried them through the territory of dreams, intoxication, chance, sexual ecstasy, and madness. The images obtained by such means, whether visual or literary, were prized precisely to the degree that they captured these moments of psychic intensity in provocative forms of unrestrained, convulsive beauty.

surrealism is meant to show a reality that doesn’t exist, surrealism can be categorised  characterized by three main themes: dreams, the unconscious, and the irrational. Surrealism is something that cant be reached, it’s not real, its an idea of something. For example loads of photographers will put multiple things together to show how surreal things really are, it shows a fake reality.  They tend to put unrelated objects and events combined in a matter-of-fact way, often in a strange, confusing space. It is stated to make something look surreal, it’s best to add something uncanny to your photographs for example this would be something seeming to have a supernatural character or origin : eerie, mysterious, its something unusual and different to everyday reality. Most of the time when u rely on something uncanny, it suggests you mean that it is strange and difficult to explain, it’s a feeling of being stuck and almost traumatised by what you are seeing. Its a strange and anxious feeling sometimes created by familiar objects in unfamiliar contexts. It shows something that your not used to.

The way to identify surrealism in photography would most likely be how the photograph is presented, and what it is symbolising. Most photographs taken to represent surrealism show double exposure, a combination of printing, montage and a solarisation plus a dramatically evoked union of dreams and reality, what is real and not. Photographers also add rotation, distortion or render their images to become uncanny. There is also a juxtaposition which can be showed by the positioning two or more things placed side by side or close together. This helps to make the ordinary into the extraordinary.

In photography, solarization is the effect of tone reversal observed in cases of extreme overexposure of the photographic film in the camera. Most likely, the effect was first observed in scenery photographs including the sun. The sun, instead of being the whitest spot in the image, turned black or grey.

Looking at some photographs related to surrealism, most photos have some of eye looking at the audience. Artists and photographers feel the need to paint or edit eyes into their work to help create a sense of mystery, depth, and psychological exploration. Eyes are meant to make you feel uneasy and unsettle, the feeling that someone is watching you, a mysterious person you don’t personally know. Looking at this concept I came across “In Magritte’s painting, The False Mirror, a huge human eye completely covers the canvas.”

This was produced by the artist René Magritte, known for creating oil painting, the main purpose of the image is to jolt the viewers by removing the eye from its usual context, presenting it without the face to which it belongs to.  It further disrupts expectation by placing a circular sky inside the otherwise ordinary oculus. Sometimes called “magical realism,” such juxtaposition of normally unrelated objects within a seemingly incongruous context is characteristic of much of Magritte’s oeuvre. Magritte stated that adding these unusual concepts helped to identify the unconscious mind. Many other artists after found that using the eye could be effective as a motif in their art. In their works, as in Magritte’s, eyes undermine our basic assumptions—they are recontextualized, multiplied, and assaulted; on occasion, they cry glass tears. The Surrealists meant these kinds of images to make viewers uneasy, to unsettle complacent attitudes about art and life.

The word surrealism was first coined in March 1917 by Guillaume Apollinaire. He wrote in a letter to  Paul Dermee : “All things considered, I think in fact it is better to adopt surrealism than supernaturalism, which I first used”

By October 1924, two rival Surrealist groups had formed to publish a  Surrealist Manifesto. Each claimed to be successors of a revolution launched by Apollinaire. As they developed their philosophy, they believed that Surrealism would advocate the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination.

To me surrealism is the idea that fake things and real things are put together. Certain things wont happen in real life and surrealism helps to create a wider imagination. surrealism represents things that are uncanny and unnatural. It shows a whole different representation of the world. The reality of the world shows very strict rules that people need to follow, and surrealism tries to turn things around, make things unpredictable. Everyone has a different opinion on surrealism due to the idea that everyone is different, each person has a different mind set and focus on different things, we all have different dreams that we want to achieve. Each person is unique due to their upbringing. This ties in with the word sonder which is the realization that each random passerby is living a life as vivid and complex as your own. Each person has different problems and surrealism can be a way of showing it. Although I have looked at eyes before and the eye represent a mysterious person looking at you, it could also represent someone’s anxiety that they are struggling from, they feel watched by everyone and anyone and it’s a constant fear that it shuts them of reality, and surrealism helps to represent that each person has different fears and ideas and each should be accepted to an extent. surrealism is a way of expressing thoughts and feelings, especially to those who don’t feel comfortable expressing out loud. It aims to revolutionise human experiences.  It balances a rational vision of life with one that asserts the power of the unconscious and dreams. The movement’s artists find magic and strange beauty in the unexpected and the uncanny, the disregarded and the unconventional.

Websites used in my work:

Victoria and Albert Museum. (2019). Surrealist photography · V&A. [online] Available at: https://www.vam.ac.uk/articles/surrealist-photography?srsltid=AfmBOor3anT3QskTD-yjH6YLfI_CLrWMamtD7ZJujaZlYkt4SgdrTdEj [Accessed 12 Feb. 2025].

Department of Photographs (2004). Photography and Surrealism – The Metropolitan Museum of Art. [online] Metmuseum.org. Available at: https://www.metmuseum.org/essays/photography-and-surrealism.

Annenberg Learner. (n.d.). Art: The False Mirror. [online] Available at: https://www.learner.org/series/art-through-time-a-global-view/dreams-and-visions/the-false-mirror/.

Wikipedia Contributors (2019). André Breton. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Andr%C3%A9_Breton

Wikipedia Contributors (2019). Surrealism. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Surrealism

The main idea you have when you think of union, is people and a community of people, I though that, that could be good idea, however it would be quite common. I want to Incorporate emotions and people together, and show how each person can have an emotional impact on others. I like the idea that everyone has different things going on in their lives and how each person reacts to things differently, it helps to make people more unique. People change emotions every second of the day and it would be quite cool to capture a few of those emotions, whether if that’s by taking candid photos or staged photos of a model in the studio. By showing emotions I don’t necessarily have to capture it on someone’s face but it can be by the way a person acts, their hobbies or even just by putting a certain colour over a photo. Most colours have an associated emotion, for example people would tend to see red as anger or love, purple as boredom and blue as sadness.

Union of people:

Sonder- (psychology) sonder: the profound feeling of realizing that everyone, including strangers passing in the street, has a life as complex as one’s own, which they are constantly living despite one’s personal lack of awareness of it.

• A picture of someone up close, portrait, turn it into a black and white effect using the threshold filter.

• Someone up close and a smaller edited person next to them or on their head.

• Pictures of peoples windows with silhouettes

For final project, the theme union was given, to me union is a community of people together, it could be focused on their emotions or the clothes they wear, the food they eat and so on. When I heard the theme union, I immediately thought of the word sonder, sonder is known as the profound feeling of realisation that everyone around you, even the strangers walking past you has a life just as complicated and difficult as yours that they are constantly living despite one’s personal lack of awareness of it. The way I see it is a union of people and emotions, each person carries different emotions and each person decides to hide it in a specific way, some more than others, and it is important not to judge people for the way they show emotions. For this project I want to be able to capture peoples true emotions and there life, their real life, that isn’t staged. This could consist of just walking around the island and talking candid pictures of strangers to capture the true moment, but I’ve don’t that previously for my other projects, so I wanted to switch it up, one thing I haven’t used much is a portrait, portraits are a good way of finding a persons emotions and this will help me develop my skills on the different types of portraits there are and how to accomplish them. One of the firs photoshoots that I have in mind is taking pictures of peoples windows, not necessarily going round and taking pictures of people in general but to capture the truth behind each window, everyone will have a window and behind it lays a different life, a different set of emotions that the person that’s living there may feel. there may be different lighting and different style of furniture in the window and this will allow me to spot the different and realise how different everyone is, this is due to cultural and ethnical backgrounds, the way you were brought up and how it has shaped you as a person.

When looking at the theme of union, we had to decide what type of union we would pick and along that we had to pick an art movement, I decided to have a look at Surrealism and Dadaism. I really believe that those art movement can help me create some good set of photos. I really like the idea of surrealism as it provides a dream like feeling, something that isn’t real, its fake and unrealistic. This can be compared to how society is shaped now, there are some unrealistic rules that people need to follow and it can effect each person in a different way. Dadaism is slightly more difficult to link to union, though Dadaism was seen to record the news and protest for things, its almost like a poster full of painting/pictures to inform the world about something. I could take pictures to inform people about the meaning of sonder and how it can shape a persons mind set. I will be looking at different artists that inspire me, for example I will be looking at Angus Mcbean who is a surrealist artist. I also will look at Hannah Höch who is a Dadaist artists and finally I would like to try and recreate some of Andy Warhol’s work.

overall, my main goal is to capture some photos to try and get a perspective on how everyone’s life is different and how each person can make an influence in the world. The word union, makes me think of a community or a group of people, some could say that the world is a union and we all come together to form a society. Each person has a purpose and each person has a goal. A lot of people could suggest that the world is quite selfish and we don’t realise that the people around us have a strong impact on us. I want to be able to capture photos that really show peoples expressions and how a persons mood can change over time, I also want to show that there is a group of people, whether is the same person edited or multiple different people, just to show how the world is and how everyone in this world has a purpose.