A portrait is a complex thing, many believe it is a visual depiction of a person. Although, this is quite an ambiguous statement, as it could mean a literal translation of their face or body on to some form of canvas, however it could also mean an indication of that persons unique character through objects or symbols. All portraits however, should be a visual representation of a persons mood, likeliness or personality.
When creating a portrait it is highly beneficial to consider all aspects of the subjects person, be it historical background or personal interests. Making a mind map or brainstorm for this individual can aid this process. This means that one can then take into account all these aspects of the person and analyse ways in which they are conveyed through the portrait. The idea of 'ones self' was explored by John Agard who composed a poem called ‘Checking Out Me History,' written in his own cultural dialect and exploring the ideas that he had of his heritage based on what he had been taught. He discovered he knew very little in terms of verifiable and unbiased fact and professed a desire to explore his own history further, retrieving his information from reliable sources. Including his own ideas.
14th October 2014.
An artist famous for her work with portraits is Myra Greene. Her work focused on expressing a persons image through showing portions of the face separately in order to make the audience think about the person they where viewing in more depth, what did each part of the face say? What did each part mean in terms of the person's self? Did the aspects define the character? She took a series of photographs of her own face asking questions about what people saw when they looked at her, overwhelmed by an onslaught of bigotry on both personal and public sides. The piece started shortly after Greene saw the aftermath of the effects of Hurricane Katrina, particularly the effects of the now homeless black residents, and made a series of black-glass ambrotypes. She asked the questions: Is my skin tone enough to describe my nature, and expectations from life? Do my strong teeth make me a strong worker? Does my character resonate louder than my skin tone? Separating the portions of a persons face means that the spectator will view them in a different way than they would ordinarily. As opposed to seeing the face as a whole and viewing it as a blank representation of that persons external self, they see each part of their person, all the aspects that make up the complete visual image. This enables them to then see the person in more dimensions, they are no longer just a whole face, but a combination of different tropes and stories all combined to make up a unique individual, moulded by both external and internal experiences and influences. It is evident in myra's images that she is attempting to ask these questions of her audience. She intended to explore her ethnic features and establish the way in which others viewed them by separating them out into different pictures. |
These images separately display different aspects of the model's face. One can analyse the shape of the mouth, the eyes, the style of the hair and the shape of the ears in order to understand the combination of feature that make up the whole appearance. You also get a sense of what kind of a person the image shows, due to the makeup they wear, the style the hair is in and the earrings. The spectator can imagine the steps and aspects of their life, such as world views and experiences that lead to them looking the way they do.
Another set of examples are these images of a younger girl.
When each part of the face is viewed separately it becomes apparent that each part has inherent characteristics that are not vissible when the face is viewed as a whole, such as the freckles on the nose, the red marks on the skin, and the tint under the eyes. When these features become visible it enables the viewer to 'see' in more depth, reading into what caused these additions and allowing them to form an idea of the personality and habits of the subject. The way that the images are framed also affects the way they are seen. For example, the image on the far right displays the eye of the subject. This eye is in the centre of the frame, therefore when the image is viewed attention is immediately drawn to that eye. This would indicate that the photographer wanted the spectator to see the eye and what it implied, for example, the way it is photographed indicates tiredness, so the subject was perhaps bored when the photo was taken. This indicates that the subject is very influenced by modern society, much like many children, always searching for the next exciting activity not content with merely doing one thing.
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The various eccentricities of the subjects lifestyle become even more apparent when compared to others. It is clear when viewing this set of images the differences between these two people. You can see the difference in the ways their eyes crinkle, the shape of the nose and ears and the expressions in the eyes. These apparent differences give very different tones to the images; the freckles on the youthful face of the eight year old girl give a sense of fun and hint at a carefree lifestyle, whereas the older man looks much more world worn, but friendly. The viewer can almost read the experience in his face as the colour and creases imply wisdom and they get a sense of the life this person has lead. The hairline recedes slightly, the beard is streaked with grey, but the lines around the eyes indicate a tendency to smile. The viewer can interpret these photographs as a representation of a father figure, understanding and loving, but with a wealth of knowledge and wisdom that they can impart and teach to their children. Therefore it is clear to see Myra's thesis that in order to understand the character of a person via a portrait, it is useful to take the portrait focussing on individual portions and aspects of said person. This also helps people to better understand the way they view others in realising what it is they believe the features of the face to represent,a nd what they assume about te person due to these features.
The artist and me.
Myra's work highlighted the features of her own face; separating them and increasing their significancy and meaning for the audience. In comparison to personal images, I have attempted to replicate the way in which the light catches the oils on the face. This highlights the human nature of the individual, emphasising a flaw that would otherwise have been removed in professional portraits. In doing this, I have attempted to display and understand the way in which Greene felt about the way she was perceived, did the assumptions about her heritage mean that she was seen differently from other people or did it make her seem more human.
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I have also place the images slightly out of focus in places, as Myra has done. This draws attention to specific features of the face and enables the viewer to consider their importance.
Georgetown from lewis khan on Vimeo. 21st October 2014.
Another artist who work with portraiture is Lewis Kahn. His work 'Georgetown,' was a study on a neighbour he had known since childhood. He used a series of portraits and a self made film in order to portray his life and history. His philosophy was that portraits could come from anywhere, and that the most seemingly mundane images had the most power and the strongest message. He not only took portraits of 'George' himself, but also of the environment he lived in. This meant that George's entire life was displayed in the form of photographs, giving the spectators a clear idea of what his life was like and what his purpose was, allowing them to connect with him as a person and sympathise with his situation. Throughout this film we learn that Pat was faced with the decision to go to jail or to a mental hospital. He confesses his issues with never knowing his mother, and conveys his destructive lifestyle through shots of the greasy food and unhealthy addictions. |
An example of this kind of work are these images of locations around Fortismere school. Here we see the Gate Guard, James, in his natural habitat. The things we see in this set of images give the spectator an idea of his daily life and personality from the things around him. In this way the photograph can convey a persons self without the need to bluntly explain it, implying rather than out rightly stating. Here we can understand Kahn's point about mundane locations. By photographing real life we see the human being in its simplest form, flaws and all, thus creating an inspiring image with great impact. A similar effect is achieved with the women working in the front office, establishing their working environment and getting a clear idea of the things that drive them in their lives.
These images have been selected as they best display the environments these people work in. They both have vast contrasts with one another even though at first glance their jobs would seem very similar. Firstly, James' cabin is much smaller than the office with much fewer personal effects, all the papers on the walls have a purpose and are not for decoration. This shows that he is a logical man, doing what is necessary and useful. However you also get a sense that he could become quite lonely as his cabin is apart from the rest of the school, this isolation is highlighted in the debris under the desk, the discarded football boots and the microwave. This creates a more forlorn atmosphere as there is a forgotten air about the cabin, however you still get the sense, from the neatly regimented desk, that this does not phase him as h continues to service the school. When this is compared with the women at the from office, differences emerge. Although they to have papers pertaining to their work, they also have many more decorative items around the room, such as photographs, patterned mug and hand made signs. This displays the more permanent and comfortable aspects to their character, coming every day to work in a far more sociable environment. here appear to be further differences between the women themselves. Some arrange their desks more neatly than others, one has fanned out the papers elegantly on the pin board behind them, showing a tendency towards aestheticism. We can also see that the bowls and plates around the sink are all neatly drying, highlighting a strong work ethic and a necessity for a clean and healthy work space.
One of the more difficult things about photographing the staff at the school, was that one had very little control over what it is possible to photograph, and a limited amount you can do with the space. This means that the photograph can sometimes not be as neat as one would like, however it does man that they have an added layer of authenticity and become far more accurate representations of the real world and real people.
One of the more difficult things about photographing the staff at the school, was that one had very little control over what it is possible to photograph, and a limited amount you can do with the space. This means that the photograph can sometimes not be as neat as one would like, however it does man that they have an added layer of authenticity and become far more accurate representations of the real world and real people.
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Lorna.
When creating portraits that sum up a person it is important to display them in their natural environment. This means that the spectator can see the way they interact with that environment in order to understand aspects of their character. It is also possible for them to make connections between it and the person's background. For example, a graphittied alleyway would have connotations of lower class lifestyles and perhaps a lower income, thus the audience connects these images with the life of the subject, understanding what makes them, them.
A person's surroundings are a vital component to the way they behave and think, as individuals are heavily influenced by their environment. Showing this in a portrait enables the audience to see different components of that person, much like in Myra Greene's work, except this time it uses symbols and examples of that persons environment, likes and lifestyle.
Take these examples of an eight year old girl. You can see clearly her likes, dislikes, the things that are important to her and make her happy. In these photographs it is possible to understand the different aspects of a child's life. Establishing their sense of fun and enjoyment, the force driving them being happiness and expectation of happiness, unburdened by the pressures of society and seeing the good in basic activities and enjoyment of them.
The selected images display her likes and dislikes, for example, they feature books, toys, games and sweet treats. These are all symbols of childlike innocence and are all designed for entertainment and enjoyment. This demonstrates the child's driving force in life, focusing on what makes them happy and not what is needed to survive, a philosophy resulting, in some cases complacency, but in most a sustained level of positivity and glee at the world around them. You can also see the effects of modern life on her, such as the branded toys and books, showing that she has grown up with all the cultural influences of our time. It is also plain that she is not underprivileged, with the friendly park atmosphere and the plentiful supply of toys, indicating perhaps a middle class upbringing. They also display her in relation to the rest of the world. For example many of the images show her location much larger than she is , thus demonstrating the vast world she is in in comparison to her minute size. This highlights the implications of her and other children in relation to society. She, not yet being able to contribute anything life changing, merely becomes a part of the scenery that many expect to see in a park, meaning her value is sometimes overlooked. However it is plain that being a part of said scenery and generating as much positivity and enjoyment as possible is of high significance as it not only adds to the person she will become, but also makes the world a little brighter.
A person's surroundings are a vital component to the way they behave and think, as individuals are heavily influenced by their environment. Showing this in a portrait enables the audience to see different components of that person, much like in Myra Greene's work, except this time it uses symbols and examples of that persons environment, likes and lifestyle.
Take these examples of an eight year old girl. You can see clearly her likes, dislikes, the things that are important to her and make her happy. In these photographs it is possible to understand the different aspects of a child's life. Establishing their sense of fun and enjoyment, the force driving them being happiness and expectation of happiness, unburdened by the pressures of society and seeing the good in basic activities and enjoyment of them.
The selected images display her likes and dislikes, for example, they feature books, toys, games and sweet treats. These are all symbols of childlike innocence and are all designed for entertainment and enjoyment. This demonstrates the child's driving force in life, focusing on what makes them happy and not what is needed to survive, a philosophy resulting, in some cases complacency, but in most a sustained level of positivity and glee at the world around them. You can also see the effects of modern life on her, such as the branded toys and books, showing that she has grown up with all the cultural influences of our time. It is also plain that she is not underprivileged, with the friendly park atmosphere and the plentiful supply of toys, indicating perhaps a middle class upbringing. They also display her in relation to the rest of the world. For example many of the images show her location much larger than she is , thus demonstrating the vast world she is in in comparison to her minute size. This highlights the implications of her and other children in relation to society. She, not yet being able to contribute anything life changing, merely becomes a part of the scenery that many expect to see in a park, meaning her value is sometimes overlooked. However it is plain that being a part of said scenery and generating as much positivity and enjoyment as possible is of high significance as it not only adds to the person she will become, but also makes the world a little brighter.
7th November 2014.
A seires of photographs by Ulric Collette featured a selection of different family members spliced together using photo editing. In combining the two faces, the inherent similarities and differences in the different people begin to imerge. It is fascination tot hen interpret the ways in which these people have changed and developed throughout their lives in relation to eachother. It is possible to see which characteristics they have inhereted and share, what kinds of external influence have affected them, and what that says about their character.
A seires of photographs by Ulric Collette featured a selection of different family members spliced together using photo editing. In combining the two faces, the inherent similarities and differences in the different people begin to imerge. It is fascination tot hen interpret the ways in which these people have changed and developed throughout their lives in relation to eachother. It is possible to see which characteristics they have inhereted and share, what kinds of external influence have affected them, and what that says about their character.
For example, we see this image of two sisters combined. In doing this to two, at first, seemingly almost identical people, it forces the spectator to examine their differences as well as similarities. One's face has a smoother complexion, one's eyes are wider and the eyebrow more defined, ones hair is fuller and longer and their eyes are different colours. As the girls are both sisters, it can be assumed that they grew up in the same environment and with similar influences, however it is apparent hat one has become more convinced by a love of the aesthetic than the other; the left sister's complexion would suggest that she as more disposed to use beauty products in her youth, even now she has curled and beautified eyelashes whereas he other has a much more closed eye and a less penciled brow. However their similarities are also evident: Their face shapes are very alike as are their smiles, highlighting a closeness and a tendency to have learnt from one another, subconsciously mimiking. These ways in which they are alike contrast with their differences, remind the spectator of their familial history and give an optimistic sense of appreciation and solidarity, leaving the viewer with a positive message that despite these sisters differences, they still retain a strong bond of friendship and trust.
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In this example we see a father and son spliced together to form one person. In contrast to the previous portrait it emanates a vaguely melancholic air, highlighting the ways in which the father has aged in relation to the son. In this case the faces are incredibly alike, almost looking like one person at different stages of their life. Although this does retain a note of sadness at the way the father has slightly deteriorated, in the deep under eye circles and wrinkles around the eyes and mouth, it also highlights the journey that has taken him to this place, which will have been largely connected and dominated by the life of his son. It also highlights their similarity, indicating a shared existence and a fruitful and, in some ways, beautiful relationship. In the similar face shape and hairline, we can see the characteristics the father has passed on to his child, expressing the wonderful way in which families connect and develop each others existence.
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This first attempt to combine the faces of two friends highlights the ways that they are alike and unalike purely in terms of environmental factors and external influence as neither have a common familial root. However it is posible to tell certain things about their personalitys and oerhps deduce the ways in which they became friends. For example, both the girls have done their eyeliner in the same winged fashion. This indicates that they find similar styes asthetically pleasing and have been influenced by similar idols. This is furthur implied by their similar hairstyles and colour choices perhaps suggesting that they have been brought up in similar environments, and therefore have a similar backgriud, indicating why they have become such a compatable match.
However it is also evident that they are very different. For example, they both have different face shapes and skin tones, as well as very differently defined features.These differences indicate their separate heratage and highlight the way in which modern society can appeal to all different groups of people, leaving the spectator with an encoraging outlook at a place where two inherrently differnt individuals can find solace in their unifyed interest. |
12th November 2014.
The art of expressing a feeling or message via a photograph is a many layered thing. When it comes to either creating or evoking an idea feeling or concept within a spectator it is vital to consider every possible angle and approach to convey the message. The artist must take into account every aspect of their point in order to transfer that to the photographic form. In this way, all photographs can be given new meaning purely based on the effects and after effects added to them, in short, a photographs meaning is not only determined by the substance of the photograph itself, but also from the way it is made and the resultant product of that process. For example, different materials used to print a photograph can give it new purpose or significance, likewise, a material placed atop an image can highlight aspects that would have otherwise gone unnoticed. These different lighting techniques, components and processes, both chemical and natural, all work alongside the photographer to create a visceral experience of the photograph for the viewer, potentially forcing an otherwise mundane or simple image into an entirely new light, and voicing thoughts and feelings that would otherwise never have been found.
Many photographers, such as Lucas Simones, Joseph Parra and Gerhard Richter, have used the ideas of manipulating their photographs in order to convey their meaning. For example, they find ways of making their photographs into sculptures, buy folding and building them up using paints. They also use other materials in order to give them texture, or to distort the images into something wholly different. When these effects are applied to the photographs they force the audience to look at them from a different angle. For example. this image by Lucas Simones was created by layering up copies of the same image with portions cut out. This creates a very distorted image, making the subject appear more deeply complex as it is connotative of a labyrinth or maze. The way that the different parts of the face are positioned in the collage also creates image of an injury like a burn, not only making the image difficult to look at, but also implying a level of contorted pain, perhaps making a comment on human nature itself.
Manipulating a photograph is particularly prevalent in the production of portraits. This is because any form of photographic manipulation will give an image depth and meaning that is not necessarily evident on fir sight. Much like a person, the portrait becomes deeper, more twisted and more complex, displaying its underlying tones and secrets directly to the audience. In this way the manipulated portrait directly mirror the complex nature of a human being and makes it the perfect method for evoking meaning in a portrait.
The art of expressing a feeling or message via a photograph is a many layered thing. When it comes to either creating or evoking an idea feeling or concept within a spectator it is vital to consider every possible angle and approach to convey the message. The artist must take into account every aspect of their point in order to transfer that to the photographic form. In this way, all photographs can be given new meaning purely based on the effects and after effects added to them, in short, a photographs meaning is not only determined by the substance of the photograph itself, but also from the way it is made and the resultant product of that process. For example, different materials used to print a photograph can give it new purpose or significance, likewise, a material placed atop an image can highlight aspects that would have otherwise gone unnoticed. These different lighting techniques, components and processes, both chemical and natural, all work alongside the photographer to create a visceral experience of the photograph for the viewer, potentially forcing an otherwise mundane or simple image into an entirely new light, and voicing thoughts and feelings that would otherwise never have been found.
Many photographers, such as Lucas Simones, Joseph Parra and Gerhard Richter, have used the ideas of manipulating their photographs in order to convey their meaning. For example, they find ways of making their photographs into sculptures, buy folding and building them up using paints. They also use other materials in order to give them texture, or to distort the images into something wholly different. When these effects are applied to the photographs they force the audience to look at them from a different angle. For example. this image by Lucas Simones was created by layering up copies of the same image with portions cut out. This creates a very distorted image, making the subject appear more deeply complex as it is connotative of a labyrinth or maze. The way that the different parts of the face are positioned in the collage also creates image of an injury like a burn, not only making the image difficult to look at, but also implying a level of contorted pain, perhaps making a comment on human nature itself.
Manipulating a photograph is particularly prevalent in the production of portraits. This is because any form of photographic manipulation will give an image depth and meaning that is not necessarily evident on fir sight. Much like a person, the portrait becomes deeper, more twisted and more complex, displaying its underlying tones and secrets directly to the audience. In this way the manipulated portrait directly mirror the complex nature of a human being and makes it the perfect method for evoking meaning in a portrait.
The photographer in residence at Fortismere School worked on a series of photographs focused around the idea of being twelve years old. This was inspired by thinking back to herself at this age and discovered she could remember very little of it. She then continued to analyse this age, re-evaluating the meanings and impacts it had upon her, thinking it peculiar, as it was a very busy and difficult time, that she had little recollection. This lead her to produce a series of photographs of her twelve year old son, both manipulating and displaying them in different ways. Firstly she used photo editing to place a black screen over the image with just one circle cut out, drawing attention to that aspect of the image. Much like in Myra Greene's work, these images made the audience focus on that particular part of the body, and consider the meanings it retains, however Saya's work differs as the body part depicted is no bigger that it would be if it where in a full portrait, instead enabling the audience to think abut it as a part of a larger whole. This desire to capture the twelve year old self partially stemmed from the famous quote intimating that a "photograph is a way of fixing time." This beautiful and insightful message was part of the reason that Siah felt it was so important to remember this age. She also experimented with presenting the images in different ways, creating cyanotypes of the pictures, and then doing further work in developing these cyanotypes onto various materials. She found this fascinating as it gave he photographs a new substance, creating a visceral thing that can be experienced by the audience.
The cyanotype format for producing a photograph varies from usual methods as it uses iron compounds in order to create the image. It was used well into the twentieth century in order to cheaply manufacture copies of blueprints. It was discovered by the English scientist and astronomer sir John Herschel, who regarded it as a way of producing copies of his notes and diagrams by. It was not until a year later that it was brought to the photographic world by a woman called Anna Atkins, who created a series of cyanotype books that documented plant life, particularly seaweed, by placing the objects on to coated paper and allowing the sunlight to create silhouettes of them, similar to the photogram process. Atkins is regarded as the first female photographer, producing the first recorded book illustrated with photographic images. Nowadays, negative copies of images can be placed over the cyanotype paper in order to produce 'positive' prints of the photograph on the sheet, much like with a photogram.
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Experimenting with cyanotypes was incredibly interesting, as it became apparent that the various eccentricities of the sun and the issues it caused had fascinating and inspiring impacts upon the images as the connotations the effects had forced the viewer into making various assumptions and guesses about the subject of the image. For example in this cyanotype the face is very indistinct an practically invisible. This, coupled with the flowing hair and the way that the subject is turned away from the camera gives an inclination that this person has a fading and almost invisible personality. The effects that the sun had on the cyanotype created whole new meanings from the original image and evoked questions within the viewer abut what makes a persons existence meaningful, and weather or not the human face needs to be noticed in order for that person to function in society. This is further impressed in this photogram of the same image. Taking inspiration from the ideas behind Saya's work in regards to intermingling photographs with different materials, the image was manipulated using he photogram technique, by placing a piece of muslin cloth over the face of the girl from the previous image. This drew further attention to the implications and meanings the 'face' has in the spectator, and called into question weather or not, without this part of her, the girl was still 'human'. The materiel selected is also connotative of a veil, and therefore had implications of the so called 'veil between worlds' that allegedly separates the dead and the living again intimation the question about weather or not the girl could be considered alive if her face was not noticed. Other effects could be tried on the photogram in order to create new meanings as well. For example, using a paint brush, the developing fluid can be slowly dripped onto the undeveloped photogram, the subsequent effect would therefore be for the image to look as though it was splattered on via a brush which somehow managed to create a perfectly formed image in the splash. This gives the image a slightly magical implication, coupled with looking incredibly beautiful, however they can also make the image appear slightly sinister as the splatters can be connected with the idea of blood and make the subject appear to be connected with death or murder in some way.
Sayako Sugawara work examples
14th November 2014.
It is said that the photographic medium with which to display images can 'limit the imagination' as it is too literal a representation of an object. However, for years , photographers have been manipulating and experimenting with their images in order to evoke inspirational and thought provoking representations of things found in our world. An example of this kind of work comes from the artist Flora Borsi. A Hungarian photographer who uses photographic manipulation to create highly surrealist images focused on the subjects of the photograph, be it their personality, emotions, identity, relationships or dreams. In her photography she hoped to emphasise the complexity of the human condition, highlighting both its strength and fragility of the psyche and unlocking what it means to think, feel and even exist. The work she does often explores the female form, hiding and revealing specific aspects, so as to explore questions of feminine representations and the link between the body and the self.
Her aims in digitally editing her photographs (combined with the use of unusual props and screens to create juxtaposition) where to shock her audience into thinking they where real, a representation of the physically impossible, making the viewer connect with her thinking and feeling as she thought and felt, displaying them all on her website.
It is said that the photographic medium with which to display images can 'limit the imagination' as it is too literal a representation of an object. However, for years , photographers have been manipulating and experimenting with their images in order to evoke inspirational and thought provoking representations of things found in our world. An example of this kind of work comes from the artist Flora Borsi. A Hungarian photographer who uses photographic manipulation to create highly surrealist images focused on the subjects of the photograph, be it their personality, emotions, identity, relationships or dreams. In her photography she hoped to emphasise the complexity of the human condition, highlighting both its strength and fragility of the psyche and unlocking what it means to think, feel and even exist. The work she does often explores the female form, hiding and revealing specific aspects, so as to explore questions of feminine representations and the link between the body and the self.
Her aims in digitally editing her photographs (combined with the use of unusual props and screens to create juxtaposition) where to shock her audience into thinking they where real, a representation of the physically impossible, making the viewer connect with her thinking and feeling as she thought and felt, displaying them all on her website.
For example, in this series of images we see a naked female on a blue background. Borsi has used the Photoshop editor and clear screens in order to create a paint like effect over this woman, but has, however, left her hands clean over the top in some images. This effect, coupled with the skin toned paint, gives the impression that the woman is actually blurring her own self out of the picture, as in all of them the face is not visible. This gives the impression that Borsi wants to convey a message about he way that women our made to look and feel in our society, as removing the eyes is a perfect way to make the subject appear inhuman, ensuring the spectator has n way of connecting with the individual. The way that she is curled up in some of the images suggests vulnerability and a certain sense of contortion, particularly in the visible ribs and spine. This conveys the idea that the way women are represented and thought about in the media leads people to feel unworthy and invisible, forced to morph themselves to unrealistic and unhealthy forms in order to feel 'acceptable'.
The smeared effect also gives a sense of mess and dirt, contrasting with the perfectly porcelain representations of women in media, and implying a much deeper level of complexity and gritty realism, highlighting beauty in the vast imperfections of the human form. The highly contrasted colours of the hair and the blue backdrop are highly reminiscent of the 'surrealist' form of expressionism. She has also used Photoshop in order to give the images heightened tones, such as the red of the hair and the blue shade in the skin, making the subject appear even more unhealthy and extreme, giving it an almost raw effect. This reinforces the concept that the things people do to their bodies are not only barbaric, but also highly unnatural, and in some ways creepily sinister. This collection of photographs not only raise questions about what it is to be a 'human female' and the representations there on, but also explore deeper investigation into the psychological reasons people feel in the way they do, suggesting that people are far more twisted and contorted in their own minds than is necessarily visible from the outside.
The smeared effect also gives a sense of mess and dirt, contrasting with the perfectly porcelain representations of women in media, and implying a much deeper level of complexity and gritty realism, highlighting beauty in the vast imperfections of the human form. The highly contrasted colours of the hair and the blue backdrop are highly reminiscent of the 'surrealist' form of expressionism. She has also used Photoshop in order to give the images heightened tones, such as the red of the hair and the blue shade in the skin, making the subject appear even more unhealthy and extreme, giving it an almost raw effect. This reinforces the concept that the things people do to their bodies are not only barbaric, but also highly unnatural, and in some ways creepily sinister. This collection of photographs not only raise questions about what it is to be a 'human female' and the representations there on, but also explore deeper investigation into the psychological reasons people feel in the way they do, suggesting that people are far more twisted and contorted in their own minds than is necessarily visible from the outside.
This series of images are in response to Borsi's philosophy of representing the female form through digital and physical manipulation.
In these photographs, the message portrayed is one in regards, again, to the ways in which people see themselves in moderns society. For example, the different ways in which the images have been manipulated, e.g.: sanding, melting effects and paint, have all been selected in order to indicate the different ways media has lead women to harm their physical appearance, working off Borsi's idea that the female mind is far more messy and complex than is at first apparent. For example the paint is highly messy and in some ways demonic. This is intended to represent the cosmetic side to beauty, singling it out as unnatural and falsifying. In some ways the epitome of uglification, as it does in no way beautify the people who use it excessively, but instead makes them internally ugly and afraid. Relying on chemicals to make them feel worthy or relevant. The second of these images also used a piece of acetate screen to paint on as opposed to applying the materiel directly to the image. A technique heralded by Gerhart Richter of layering tup the paints in order to create texture was also used on these images, imitating the textures left upon the skin by scars, marking the lasting impact negative images can cause. Like in Borsi's work, paint was used in order to convey the messy side of the subject, however this work differs in that it does not smear the paint over the image, but forms particular shapes so as to convey a ore specific message.
The sand paper technique was designed in order to signify a harsh bombardment of negative messages, leaving the modern consumer raw and in some ways invisible, become far less like themselves. The arm in the foreground is left untouched as it was important to have left an aspect for the subject to hide behind, symbolically representing the barrier that people feel the need to put up between themselves and the outside world. It also makes the subject appear more two dimensional and false, almost looking like part of a separate image, indicative of this inhuman mindset. The sanding also fades the image and makes it look very old. This evokes within the viewer the idea that these feelings have been dwelling within human beings for a very long time, and thinking in tis way is perhaps ancient and un-evolved. This and the final technique where no directly mirroring Borsi's technique, however they do emanate her concept of displaying the fragility of human nature and its susceptibility to external influence.
The third and final method of manipulation was the melting or 'liquifying' technique designed on Photoshop. It was intended to remove the top portion of the person, beginning to blur and melt into their arm. The idea of melting is connotative of a slow erosion process, dwindling its participant down till there is nothing left but a shapeless mass. This is highly similar to the way in which the media will persistently present people with images of the way they should be, milking them for all the are worth until they are left, a mess. The slow and steady process of melting also indicates the way in which most body dimorphic disorders begin; when people yield and give in, allowing themselves to be worn down into non-existence. There is also a faint greenish hue applied to each image in order to make the subject look slightly sick.
If, given the opportunity, these images where to become part of an instillation, they would have been fixed onto large screens. The images would be strictly organised into rows and columns, but there would be no gap displaying any part of the screen. These would then have been positioned in a square around one another so that the viewer would step inside and be surrounded by the images. This would have been done to give the spectator a feeling of claustrophobia and entrapment, imitating the destructive and internally consuming way people view their external image. The exterior of the screens would be kept blank, reaffirming the concept that this way of thinking only affects the internal self and exposes the pointlessness of torturing the mind over an 'external image' that means very little to those outside yourself. [See figure below]
These images clearly represent the focal concept of a portrait: to represent a person or persons through the form of an image. They take some of the most fundamental flaws and eccentricities of the human psyche and break them down into a visual representation of that persons face. Not only do they do this, but they further link with the concept of portraiture as they demonstrate the psychological results of portraits and images of people, particularly in the media, causing humans beings to make unrealistic and destructive representations of themselves.
In these photographs, the message portrayed is one in regards, again, to the ways in which people see themselves in moderns society. For example, the different ways in which the images have been manipulated, e.g.: sanding, melting effects and paint, have all been selected in order to indicate the different ways media has lead women to harm their physical appearance, working off Borsi's idea that the female mind is far more messy and complex than is at first apparent. For example the paint is highly messy and in some ways demonic. This is intended to represent the cosmetic side to beauty, singling it out as unnatural and falsifying. In some ways the epitome of uglification, as it does in no way beautify the people who use it excessively, but instead makes them internally ugly and afraid. Relying on chemicals to make them feel worthy or relevant. The second of these images also used a piece of acetate screen to paint on as opposed to applying the materiel directly to the image. A technique heralded by Gerhart Richter of layering tup the paints in order to create texture was also used on these images, imitating the textures left upon the skin by scars, marking the lasting impact negative images can cause. Like in Borsi's work, paint was used in order to convey the messy side of the subject, however this work differs in that it does not smear the paint over the image, but forms particular shapes so as to convey a ore specific message.
The sand paper technique was designed in order to signify a harsh bombardment of negative messages, leaving the modern consumer raw and in some ways invisible, become far less like themselves. The arm in the foreground is left untouched as it was important to have left an aspect for the subject to hide behind, symbolically representing the barrier that people feel the need to put up between themselves and the outside world. It also makes the subject appear more two dimensional and false, almost looking like part of a separate image, indicative of this inhuman mindset. The sanding also fades the image and makes it look very old. This evokes within the viewer the idea that these feelings have been dwelling within human beings for a very long time, and thinking in tis way is perhaps ancient and un-evolved. This and the final technique where no directly mirroring Borsi's technique, however they do emanate her concept of displaying the fragility of human nature and its susceptibility to external influence.
The third and final method of manipulation was the melting or 'liquifying' technique designed on Photoshop. It was intended to remove the top portion of the person, beginning to blur and melt into their arm. The idea of melting is connotative of a slow erosion process, dwindling its participant down till there is nothing left but a shapeless mass. This is highly similar to the way in which the media will persistently present people with images of the way they should be, milking them for all the are worth until they are left, a mess. The slow and steady process of melting also indicates the way in which most body dimorphic disorders begin; when people yield and give in, allowing themselves to be worn down into non-existence. There is also a faint greenish hue applied to each image in order to make the subject look slightly sick.
If, given the opportunity, these images where to become part of an instillation, they would have been fixed onto large screens. The images would be strictly organised into rows and columns, but there would be no gap displaying any part of the screen. These would then have been positioned in a square around one another so that the viewer would step inside and be surrounded by the images. This would have been done to give the spectator a feeling of claustrophobia and entrapment, imitating the destructive and internally consuming way people view their external image. The exterior of the screens would be kept blank, reaffirming the concept that this way of thinking only affects the internal self and exposes the pointlessness of torturing the mind over an 'external image' that means very little to those outside yourself. [See figure below]
These images clearly represent the focal concept of a portrait: to represent a person or persons through the form of an image. They take some of the most fundamental flaws and eccentricities of the human psyche and break them down into a visual representation of that persons face. Not only do they do this, but they further link with the concept of portraiture as they demonstrate the psychological results of portraits and images of people, particularly in the media, causing humans beings to make unrealistic and destructive representations of themselves.
In evaluating the success of these images, it was decided that the sanding effect was most impactful and attractive. In order to further evaluate the effects of this technique more images where taken, partially of the model and of a few of her possessions in order to consider the implications this technique has upon more images and therefore the new meanings presented to the spectator.
Firstly, the link between the abrasive external society and cosmetic appearance was made more overt in the image of the layered out makeup. However in this image, the make up was the portion harshly sanded out, making it into the victim as opposed to the people it effects. This gave a satirical message bout the extent to which this appearance oriented world retains importance, and gives ay to the philosophy that this, essentially, damaging industry is in actual fact just as pathetically injured and twisted on the inside as those it harms.
We can then examine the image of the flowers covering the face in which the delicacy of the flowers counteracts with the fact that they survived the abrasive surface, implying that this facade of natural beauty is praised more than that of the person and perhaps implies that it is behind this form of beauty people hide, however it can also be considered that underneath this is an individual contorted and damaged to the extent to which they no longer retain an individual identity as envisioned by the lack of visible facial features.
Then we come to the image of the subject hiding behind the magazine. This image was taken in order to continue to explore the different aspects of the photograph which could be used to examine the meanings of the piece. By using a commercial magazine, it was attempting to reinforce this message of a beautified society perpetuating a damaging image and having this stand out as a thing which people hide behind, much like the flowers, untouched in a harshly judgemental environment. The final outcome for this line of investigation was, largely effective as it satisfactorily encompassed ideas about the identity of individuals and the potential negative implications of the visual representation of this in commercial photography, and therefore the portrait as a commercial product, evaluating the extent to which a person can be understood through their visual representation. It also examined the photograph as a malleable object and something which could be altered in order to convey a message.
Firstly, the link between the abrasive external society and cosmetic appearance was made more overt in the image of the layered out makeup. However in this image, the make up was the portion harshly sanded out, making it into the victim as opposed to the people it effects. This gave a satirical message bout the extent to which this appearance oriented world retains importance, and gives ay to the philosophy that this, essentially, damaging industry is in actual fact just as pathetically injured and twisted on the inside as those it harms.
We can then examine the image of the flowers covering the face in which the delicacy of the flowers counteracts with the fact that they survived the abrasive surface, implying that this facade of natural beauty is praised more than that of the person and perhaps implies that it is behind this form of beauty people hide, however it can also be considered that underneath this is an individual contorted and damaged to the extent to which they no longer retain an individual identity as envisioned by the lack of visible facial features.
Then we come to the image of the subject hiding behind the magazine. This image was taken in order to continue to explore the different aspects of the photograph which could be used to examine the meanings of the piece. By using a commercial magazine, it was attempting to reinforce this message of a beautified society perpetuating a damaging image and having this stand out as a thing which people hide behind, much like the flowers, untouched in a harshly judgemental environment. The final outcome for this line of investigation was, largely effective as it satisfactorily encompassed ideas about the identity of individuals and the potential negative implications of the visual representation of this in commercial photography, and therefore the portrait as a commercial product, evaluating the extent to which a person can be understood through their visual representation. It also examined the photograph as a malleable object and something which could be altered in order to convey a message.
In order to do one final piece of development upon this, a further series of images where taken with the intention to remove potions of the face via the scratching technique. However, these images where taken with Myra Greene's work in mind. In other words, they where far more exploratory of the different aspects of the face in order to examine the extent to which altering and removing them changes one's perception of the individual; and what those aspects of the face hold in terms of meaning for the spectator. This extension veered a little away from the damaging effects of the media and focussed more on what the human face can mean for a consumer. Here we still have however, implication of the scarring effect left behind by the idea of viewership and aesthetic beauty but it also implies the way that personality s lost when the individual is taken purely as an aesthetic construct.
As can be seen in the images, erasing portions of the actual face creates a far more impacting effect as it implies that the more tender or vulnerable parts of the self are damaged. By scratching out the colour of the eyes, the subject looks less human as the audience member can no longer make a connection with them due to the fact they are force to be aware of the fact of the photograph itself. However, what they can make a connect with is the pain that is imbibed by the scratching motion, and they can thus associate the effect on the eyes, not only with a fading of the self in its nostalgic implications, but also with an abrasive quality upon the more intimate details of the self. By showing these along side images were the individual conceals the face, a similar effect is created to the previous sets of images, and thus all aspects of the series are encompassed into one set of images; and indeed it also combines the work of Myra Greene in which we can examine the effect of each aspect of the face individually. However, where this differs is in the scratching out of other portions of the self as well. In this case the lips are a more poignant feature of the series, and indeed correlate to this idea of the aesthetic loving media as they can be construed as a symbol of female objectification by scratching them out one can imply the devaluing nature of the media and again the way it corrodes the soul.