Went through the film again and selected more stills which I find interesting, and which may look good printed out on a larger scale. I purposely chose not to edit any of the frames as I feel there is more value and appreciation for the film to observe frames in their original format. Through observing singular frames it gives me time to fully appreciate the work and exploit a fleeting moment. The rush of the frames when the film is played at its original speed makes us miss valuable transactions of frames. However I understand it is the bombarding speed of the film which makes the scratch film unique.
I selected frames, each where there are different strengths of line markings and tonality variations. Each mark is unique to me and my mood at the time it was created. As I look back over the results of the scratch film, I have more respect for the process and mark-making. Mark-making is as unique as a fingerprint and each range of marks have their own individual narrative. Although the fingerprints are obvious in evoking the subject of identity, I find the singular scratch marks more effective in reflecting identity. Marking on the film was hard to control therefore at times was unexpected, especially when applying vigorous marks; in this respect the markings signify our own unknown nature as humans.
Interpreting the work in this way I feel relates back to my portraiture work and how I wanted to show identity in a fragmented way, reflective of our disjointed lives and how we project fragments of our personalities (dependent on context). Although I am not continuing with my portraiture work, the interpretation of a self-portrait can still be observed although in a different format.
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