So this can work in both directions. Some argue that nothing is stronger than the power of the visual, and good on them, because they are right. Sometimes. Although a picture supposedly is the equivalent of 1000 words sometimes it wouldn't hurt to add a few more. Because those narrative words are the pivotal point of decision making over whether, for example: a photo of a shed was the hide out for a super secret Mafia or the birth place of Bowie hair which the photographer had gone into great detail to research for, or, it is just a photo, of a shed.
Wilson, Daniel Clowes 2010
Although I like nothing more than to play the "what if" game I also admire people who define narrative, as, in the right circumstances the image itself is intensified. Take Daniel Clowe's "Wilson". When I block out the text we are free to interoperate it however we like, which is fine, but as soon as we text is added....
Wilson, Daniel Clowes 2010
.... like so, the entire atmosphere of the piece changes. From a glance (or if the reader wasn't aware of Clowes' dry outlook) you might assume it was a comic from the Saturday morning paper, but as soon as the text is introduced we are hit in the face by a bout of Clowes.
Take care of yourself, Sophie Calle 2007
As well as defining an image, words also are also used to emotionally intensify a piece of work. Pieces like Sophie Calle's "take care of yourself", in which she built up a work of art surrounding a "Dear Jane" email that her boyfriend sent her. She built on this by sending copies off to 107 academic women, who in return analysed it according to their profession. Another artist who I admire for this is Jamie Shovlin, in particular his collaboration "Naomi V Jelish."
Naomi V Jelish, Jamie Shovlin 2004
Shovlin uses the beautiful thing that is imagination to create a project that was at first portrayed as a compilation of a missing girl Naomi V Jelish. Shovlin had not only created a touching compilation of "found" objects, but he had also created the girl and the entirety of "her" possessions (school books, sketches e.t.c.) Saatchi (who purchased the piece) was unaware of it being a hoax until he discovered that the name Naomi V Jelish was an anagram of the artist.
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