I’m thinking of memories and how we let them go not how we keep them. How do we hasten them on their way if we don’t want to keep them? How do we know if they are gone?

Exploring artists who have responded variously in someway to an aspect of loss, memories, the domestic, parents and relationships. I’m looking at David Hockney’s photo montages thinking of how to use my photos and the effect of movement he achieved. Also his paintings which are photographic and stripped of the sort of minute detail in my photos. Tracy Emin’s work including paintings, quilts, use of words and photographs, all so full of emotion. I am thinking that perhaps photographs can tell more of a story than is captured in a second. Diane Arbus is so skilled at making pictures which capture more than a moment in time, they at least make you ask “What ‘s the story? or, “What’s next?” Another photographer, Jonathan Donavan has undertaken a project “No place like home” in which he photographs a wide range of homes from extreme poverty to the luxurious, but all seem rather set up. I’m not sure what they are for other than to show the distance between rich and poor but perhaps that’s enough.

Louise Bourgoise’s work throughout her life explores significant relationships and she seems to have been searching for an answer to something in her drawing, sewing, sculpting, stuffing and so on. I guess she didn’t find it? Something for me to think about? Yoselof Tamar, particularly his sculptures related to the life of Emily Dickinson, suggest holding on to memories, actual things and keeping them safe for the future.

Matisse was suggested to me as an artist painter to explore with regard to interiors. His domestic still lives were clearly staged unlike my photographs. I am not sure they help me to decide on what I will do though the composition and colours are wonderful. They remind me of the madness of my parent’s kitchen with the broken tile mosaics, green and yellow paintwork all of which has its own story. Holly Farrell paints colourful domestic scenes and objects. They are lovely and slightly ephemeral. She simplifies compositions and draws the viewer in. I must take colour and composition into account when choosing which photographs to use.

The colourful hot drinks corner with electric kettle, the Yorkshire Tea caddy, loose tea and instant coffee. The knife sharpening steels hanging down, the rope from the Sheila-maid where the clothes were hung to dry on wet days. The edge of the built in kitchen cupboard to the left and the slice ready for use in the frying pan. This is a really satisfactory photograph which was simply there all ready for me to snap on my iphone.