Thinking beyond, and in addition to, making a printed publication of my work, I am contemplating about how else I could appropriately present my work. A few modules back in my degree with a different body of work, I started to make a slideshow of the images which employed various transitions by which the images would flow and link to each other. I shelved the idea at the time as I turned to different ways of presenting the work, however, I feel like this strategy could be appropriate for this project - fast flickers and flashes of imagery in film lend themselves to the suggestion of 'fleetingness', and thus 'impermanence' - which is a key underlying aspect of this work.

Fig,1: Sarker Protick, 2020. Rasmi/Ray - Installation view.

This strategy came about having stumbled upon Sarker Protick's 2017 - 2020 work Raśmi/Ray, which can be seen here. Whilst the impetus for Protick's work is borne out of something very different, the 'transitions' are a great example of what I am suggesting with my own work. Actually, whilst the impetus is different, there are some shared meanings; the statement on Protick's website (here) states the following:

'Raśmi (a ray of light in Bangla) is an arrangement of images and soundscapes, materialising as a video projection. Ingrained in an experience of loss and grief, the work explores the ideas of personal truth and fiction, with its pretext being non-geographical, a non-place and yet universal in its stimulation. Intertwined with the images, the immersive soundscape works almost as a narration of the sequence. This light which is almost omnipotent throughout Sarker’s depiction of the objects – as those of the cosmos – creates situations as lucid as it can get in its meaning. Anchoring it further in its universality, is the recurring presence of the circular form photographed from varying vantage points, empty or hollow and at times illuminated at a distance.'

I am particularly drawn to the mentions of firstly non-place and universal stimulation, and secondly, the recurring presence of the circular form. In my own images, the idea of non-place is starting to emerge - my images are taken in Cornwall but as I move forward with my work, it has become less about showing recongnisable ancient sites more about universally recognisable, and stimulating, elements that define it, for example rocks, wood, ocean. The presence of the circular form mentioned in Protick's statement makes me think back to Zen Buddhist concepts which continue to inform the context in which I am addressing nature.

Fig.2: A Zen 'open' Enso (円相) circle. (Artist unknown).

The use of a round symbol (called 'enso' / 円相) expresses a version of wabi-sabi. A perfect circle created in one infinite motion is always in motion and never idle. The open version of an enso has both an end and beginning, which reminds us that everything has a start, finish and can symbolise imperfections in existence. In this we can reflect that all things, for a brief moment in time, exist, however imperfect they may be; a brief momentary ‘life’ within a much broader timeline of many lifetimes. To find an understanding of the true nature of our positions within the universe includes embracing one's imperfections. I like the idea of incorporating the imperfect 'enso' circle into the design of my work in a subtle capacity, it is something that could be woven into the printed publication I will produce, and mirrored in the slideshow.

Fig,4: Sarker Protick, 2020. Rasmi/Ray - Installation view.

The narrative audio used in Protick's slideshow is interesting to me - I am not sure whether it dictates the pace and transitional moments in the film, or the images were arranged first and then the audio was synched accordingly. I have been making sound recordings of the places I have been visiting and will use these to narrate my own film. Whilst I have a basic knowledge of sound recording, I am going to work with a sound engineer friend of mine to maximise the potential manipulation of the sounds and also to ensure the quality of this aspect of my work.

Fig.1: Sarker Protick, 2020. Rasmi/Ray. Installation view. Available at:
Fig.2: Artist unknown. Open Zen Enso circle. Online Available at:
Fig.3: Sarker Protick, 2020. Rasmi/Ray. Available at:
Fig.4: Sarker Protick, 2020. Rasmi/Ray. Installation view. Available at:

Protick, Sarker. 2017-2020. Rasmi/Ray. Sarker Protick online. Available at: