Bond

Abstract

Bond is the result of an exploration of the emotional and dynamic relationship between the author and the family that has influenced his life. The creation of this work is done through an everyday photography approach, namely the creation of photographic works that are done every day intimately. In addition, the author uses the aesthetics of comfort to produce authentic graphic moments in a personal version in order to document spiritual, cultural, and social traces that connect the author and family. In the context of Bond's work, photography functions as documentation but also a medium for self-introspection, becoming a kind of bridge of subjective experience with universal human emotions. In creative practices, the author integrates medium shot angles, close-ups when cutting photo prints, attaching them with adhesive, and giving a touch of lines and shapes, in order to present intimate emotions. The layout of the collage of photographic works was created to display memories of the past. Scanning physical documents into digital (scanning) with resolution accuracy and paper folding patterns present depth of texture. Experimentation with mediums like this functions to deconstruct the boundaries of orthodox photography and raise discussions between art photography practices and expressive art streams. Bond is about the transformation of personal stories that are then able to manifest as universal reflections about the knots of humanity, kinship values, and spiritual exploration that appears in one of the narrative works in the form of traditional script of the author's tribe, the Alifuru tribe from Central Maluku which has many spiritual symbols. The work is a fresh offer, that there is an expressive point of view in documentary photography in terms of opposing popular aesthetic agreements. This perspective is carried out in organic ways, prioritizing honesty and intimate emotional feelings. There are three main emphases in this research, namely developing a reflective photography methodology by combining traditional techniques with digital innovation (scanning), expanding thinking about photography into an interdisciplinary research medium, and finally a model of artistic practices that combine qualitative research with expressive visuals. The research produces novelty about the author's version of comfort aesthetics that shows the involvement of photographic science in revealing the complexity of the anthropological side of human kinship. Through the process of creation, the author finds originality, that there is visual art mixed with cultural anthropology and then there is social psychology which then gives birth to artistic documentary photography.