With the photographs being small, individual units, and no binding mediums for constructing large forms, our approach to the task was to interact the two materials in as many small variations as we could.

 

Our first instincts were to look at the subject of the photographs, and in doing so, our initial few compositions involved concealing faces or cutting out faces and other body parts (fig 1,2). We then turned to more structural forms in the photos such as the aeroplanes and buildings (fig 3, 4). The subjects of the photographs were a vital material quality of photographs, so we tried to create many compositions based around it.

Once we felt stuck, we started to notice the physical and textural qualities of the photo paper. This created the last few works (fig 5,6 and a weaving work which I couldn't find a close-up of)

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We tried to use the black cumin seeds as both passive and active materials. And same with the photographs

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We would've liked to display our works more further apart from each other so individual works could be viewed for their own merit, but because we started off making our works quite close to each other, the cumin seeds made it harder to move later.