Relationships are a massively predominant feature of all human lives. Be it relationships between people, places, objects or feelings. They are therefore one of the largest parts of photography in both their expression of relationships and a persons individual relationship with what is expressed in the image.
4th February 2015.
THere are many relationships that can be examined through the photographic medium. Namely the most commonly found relationships or links people make between objects or concepts. These range from a wide variety of sources such as sweet and salty, wash and dry, day and night, fire and ice, life and death, heart and mind and even the oddly romantic, puddle and cloud. In this sense, many relationships can be presented through parallels or counterparts. It can be seen in the video below that there are many relationships between objects and feelings that are recognisable to the masses purely because we have made it so; all relationships people have made between inanimate objects are born out of our associations or memories of them, meaning that all people can share similar links between these experiences and relationships, or simply in the fact that they act in either perfect harmony or discord.
THere are many relationships that can be examined through the photographic medium. Namely the most commonly found relationships or links people make between objects or concepts. These range from a wide variety of sources such as sweet and salty, wash and dry, day and night, fire and ice, life and death, heart and mind and even the oddly romantic, puddle and cloud. In this sense, many relationships can be presented through parallels or counterparts. It can be seen in the video below that there are many relationships between objects and feelings that are recognisable to the masses purely because we have made it so; all relationships people have made between inanimate objects are born out of our associations or memories of them, meaning that all people can share similar links between these experiences and relationships, or simply in the fact that they act in either perfect harmony or discord.
The sets of images below where taken in order to examine the relationships between the three from a Vimeo video, of Puddle and Cloud, Sweet and Salty, and Heart and Mind. These combinations can be used to represent the wealth of fascinatingly wonderful relationships that are found in the human word, from symbiotic relationships that cannot exist without the other, relationships that create harmony when combined or ones that conflict and fight one another. The relationships in the world create a massive form of inspiration particularly for photographers as they enable people to examine the very nature of what it is to be, by understanding why we respond to things in the way we do (particularly in obsessive relationships or ones that become a necessity). Even in those that conflict there is evidence to examine to further our understanding of the human mind.
For sweet and salty we have a sugar jar and a salt grinder displayed together in order to illustrate the harmony of the two and reinforce peoples obsession with combining flavours. For heart and mind, two conflicting pieces of food where displayed, cabbage and ice cream, in order to illustrate the difference between the desires of each organ, ascertained by the similarities in shape the cabbage holds to the brain and the colour of the strawberry ice cream tub. The final combination of puddle and cloud was more difficult to examine in an un-obvious way, therefore it was decided that the cloud would be made by continuing this theme of food and images where created illustrating the transition egg whites undergo from puddle to meringue (cloud).
The Photographic artist Christian Macarlay is highly relevant in considering people's relationships with objects. This Swiss-American artist created a film called 'Telephones' in which he gathered together a collection of short clips of actors answering, talking on and hanging up telephones, editing them into a seven minute collage. The clips range over one hundred and thirty films both from early and late cinema so that the technology ranges from dated to more modern. The elegant editing also manages to make it seem as thought the characters from different films are almost responding to one another, neatly tying all use of telephones in cinema into one thematic bubble and therefor allowing the audience to examine the extent to which the object retains meaning to both the audience and the film maker by examining the difference in attitudes and narrative with the invention of the telephone.
By using Macarlay as inspiration we can therefore deduce that the relationship people have with an object is predominantly based on their experiences with, and memories of said object.
By using Macarlay as inspiration we can therefore deduce that the relationship people have with an object is predominantly based on their experiences with, and memories of said object.
Altering context.
When exploring Relationships in photography, one must also endeavour to examine the audiences relationship with the images itself along with the relationships presented in the subject matter. This can be experimented with by altering the context of an image as this particular;y can contribute massively to the way they perceive the message as it will vastly alter their reaction and interpretation of it. Several photographers can be consulted in relation to this idea. Firstly, Guy Catling, a graphic designer from Gloucester, Essex. He took old photographs and reinvented them with a hugely eye catching collage technique by adding bold patterns to the black and white images. Particularly in the old wartime photographs, Catling generates a completely new effect in his images by separating them completely from their original purpose with bright patterns and folk prints to contrast extremely with the much more somber subject matter. By changing his audiences relationship with the context of his image, he creates a whole new experience and allows the subject to be approached from an otherwise un-examined angle. |
Secondly, we can look at Hayley Warnham, an illustrator based in London. Her series 'Everything is Beautiful' was very similar to the work of Guy Catling, in that she also re imagined old photographs with brightly coloured additions. However, where he added prints and patterns to his images, she wipes out the texture of certain aspects of the images with one bold, flat colour so as to create a collaged effect, much like the images had been cobbled together by a family collecting images of their past into a scrapbook. By removing the features of each object, she not only separates their meaning of the overall shape from the other identifying aspects, but she also examines the feeling evoked by memory as well as the memory left due to the age at which they where perceived. In other words, the vibrant block colours create the effect of a child looking out upon their experiences and evokes a great feeling of nostalgia, a though the finite complexities of the world had not yet been established, and could therefore be enjoyed based on pure pleasure of existence.
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The third artist almost does the opposite of this. Amir Ali Ghassemi, in his series 'The Party Scenes Series' Ghassemi completely whites out each person from the image along with hat they are doing. By removing the peoples personality from the images we are left with a very detached feeling as though there are no real people in them. In this way he universalizes his theme and implies that the experience shown could be had by anyone from the general public. However it could also be said that in doing this he brings you closer to the people, focusing on the experience and the memories surrounding it from their perspective, as they would indeed not be looking at their individual features, but at the world around them which is perhaps why the piece is sometimes marked as "intimate, real life," by allowing the audience to examine the relationship of the subjects and their surroundings without being distracted by their finite personal details.
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Taking inspiration from these photographers, the famous image of Marilyn Monroe escaping the paparazzi was edited in order to evaluate the effects of these collage like techniques. Particularly with the colour block image method of Hayley Warnham a distinct effect is created. By removing Marilyn's features and replacing them with a block of blue we can look at her situation in a child like way and perhaps examine the issues surrounding the repressive nature of a public persona, specifically with the mournful connotations of the colour, and in light of her known issues with mental illness.
Overall, the most successfully haunting images where the ones that removed Marylyn with a block of colour as they took her individual personality out of the image,(particularly due to Guy Catling's work being designed purely to alter the way one sees the image as opposed to providing a message or meaning) completely altering the viewers relationship with the image. To continue with this, Marilyn's face was removed completely from the image, along with her arms and legs by using the blur technique to replace them with the background of the picture. This left her clothes hanging in hid air and provided a further representation of a potentially 'new' way to look at the image without its subject. It also dredged up ideas about Marilyn's meanings, particularly for the paparazzi as well as the film industry in general, as in this so called 'Golden age' of Hollywood the stars image was heavily fabricated by the studio and thus it was her external persona, such as her clothes and appearance that thy valued, giving this lack of personality in the images new significance. However, Catling's technique did prove more effective when the pattern was concentrated upon a smaller area as this meant that it forced this historical event into a malleable existence; one that could be played with an altered and providing a great sense of fun along with a closer relationship between past end present by combining the two.
By doing further examination into the effect of colour however, it can be deduced that the effectiveness on the technique depends entirely on the context of the image. For example this image of a couple kissing on Ve Day is given completely new meaning when the woman's shoes are changed to red. By connecting them with the juvenile obsession little girls often go through about the perfect pair of red shoes, an innocence and glee is washed over the image, perfectly encapsulating the euphoric state people where left in, in the immediate aftermath of the war. However, it is also imbibed with sinister undertones as the audience can continue to connect it with the very famous film 'Schindler's List' which was entirely black and white save for the little girl's red coat. By simultaneously connecting the image with a childish view and the horrifically sad connotations of the film and indeed the war itself, the viewer gets a far more saddened impression of the scenario in regarding the severe scarring the war left upon the world and its children.
6th February 2015.
A further aspect of life to be examined is memory. Our memories not only make our relationships understandable, but the relationship we have with our former selves also says a lot about the shape of our present and future.
The photographic work of Jan Von Holleben, a German photographer,worked on a series called 'Dreams of Flying' in which he examined the beautifully fun experiences and dreams we have as children, thriving in the nostalgic feelings his images drew up for the viewers. Initially, the images from this series where taken from above, using a bed as a backdrop and converting blankets and other household items into scenes of imaginative play. However, by using an adult model, photographed with her eyes closed (as if asleep), he managed to encapsulate a bewildering sense of childish fun in a grown mind, highlighting the importance of this connection with one's younger self. He then moved on to taking more in-depth pictures with children in interesting settings and indeed more interesting scenarios. These images where also made out of ordinary objects, but used in extraordinary ways, and this time the subjects where photographed with their eyes open to emphasise the way children can make almost any activity into one of supreme inspiration and imagination weather thy are awake or asleep.
This technique for taking images from above is not only beautifully whimsical but also useful in exploration of the possible parameters of photography. When the subjects are tipped on their sides a lot more possibilities for scenes can be made, stimulating both the photographers imagination, and that of the audience. In these images the subjects whee photographed from a great height, using props that had common associations with childhood. For example, the first set has been made into a 'GIF' which is essentially a stop motion animation on repeat, in which it looks as though he is snowboarding down a mountain. In the second set, the subject looks as though she is falling through clouds, reminiscent of not only the dreamlike state children are often in but also investigation further the fascination they often hold with the sky and all its unknown possibilities. The final one is a still image, which perfectly encapsulates the associations, particularly young girls, have with princesses and fairy stories by using a gigantified apple in a Snow White scene. The 'larger-than-life' fruit reinforces this idea of childhood as it is from there that the world looks its biggest and most exciting.
A further aspect of life to be examined is memory. Our memories not only make our relationships understandable, but the relationship we have with our former selves also says a lot about the shape of our present and future.
The photographic work of Jan Von Holleben, a German photographer,worked on a series called 'Dreams of Flying' in which he examined the beautifully fun experiences and dreams we have as children, thriving in the nostalgic feelings his images drew up for the viewers. Initially, the images from this series where taken from above, using a bed as a backdrop and converting blankets and other household items into scenes of imaginative play. However, by using an adult model, photographed with her eyes closed (as if asleep), he managed to encapsulate a bewildering sense of childish fun in a grown mind, highlighting the importance of this connection with one's younger self. He then moved on to taking more in-depth pictures with children in interesting settings and indeed more interesting scenarios. These images where also made out of ordinary objects, but used in extraordinary ways, and this time the subjects where photographed with their eyes open to emphasise the way children can make almost any activity into one of supreme inspiration and imagination weather thy are awake or asleep.
This technique for taking images from above is not only beautifully whimsical but also useful in exploration of the possible parameters of photography. When the subjects are tipped on their sides a lot more possibilities for scenes can be made, stimulating both the photographers imagination, and that of the audience. In these images the subjects whee photographed from a great height, using props that had common associations with childhood. For example, the first set has been made into a 'GIF' which is essentially a stop motion animation on repeat, in which it looks as though he is snowboarding down a mountain. In the second set, the subject looks as though she is falling through clouds, reminiscent of not only the dreamlike state children are often in but also investigation further the fascination they often hold with the sky and all its unknown possibilities. The final one is a still image, which perfectly encapsulates the associations, particularly young girls, have with princesses and fairy stories by using a gigantified apple in a Snow White scene. The 'larger-than-life' fruit reinforces this idea of childhood as it is from there that the world looks its biggest and most exciting.
To continue this investigation into memories of childhood the following set of images where taken in order to examine other takes upon childish memory in photography. Inspiration for this can be found in many places. Take Paul Smith for example, who took a series of images which where heavily fabricated and altered using Photoshop to create deeply fantastical scenarios outside of what is physically possible and therefore creating this opportunity to envision purely imaginative heroes that would satisfy even the most bizarre child's fantasies. One could also look at David Levinthal [see figure to the right] for inspiration, who took extreme close up shots of miniature toy figurines to construct tiny real world scenarios, highly evocative of those moments in his past as he could associate them with the relationships he had with those particular toys and games, as could the audience of the images who can similarly connect with the connotations the toys hold. THe blurred nature of the image could indicate the whirlwind state in which ply commences to imply the innate ability to form stories and games without real conscious thought. However, it also indicates a level of confusion and misunderstanding and also evokes sadness from an adult perspective that the ability to 'play' can never be remembered of regained in adulthood.
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Both these techniques could be used in order to further ones understanding of the relationships one has with their past self. Indeed a photographer need only look to the books of their childhood in order to dredge up a whole host of feelings and memories that could inspire a shoot. Books provide a great source for inspiration as they not only take part in the times when a child's mind is most stimulated, but they also demonstrate an adult ability to connect with and realise childhood fantasies and pass them on to others.
These initial images where taken firstly with inspiration from Jan Von Holleben's work as illustrated above, however this time going into more depth in exploring memory. The initial concept came from the story of Thumbelina, the pint sized princess that was closest to me in childhood. However there where issues in attaining the right angle for the image as without advanced equipment the image will begin to look less realistic. Indeed, the first images did not look satisfactorily like the young subject was standing on a flower so another avenue had to be explored, this time with raindrops which could then be converted to a stop motion style GIF. The raindrops themselves where fashioned out of pillowcases and thus added to the sense of childish imagination in the photograph along with the whimsical attitude to the natural world.
The second set of images lead on from this idea of stop motion animation as they stirred up fond memories of the television programs viewed at a young age. For me in particular, stop motion played a big part in the early experience of television as many of my most enjoyed shows where made by Oliver Postgate, maker of fascinatingly beautiful television programs such as 'The Clangers,' 'Bagpuss' and 'Ivor the Engine.' The images below however where inspired by a series called 'Pogles Wood' (a personal favourite)which comprised of a succession of beautiful, black and white, stop motion animations about creatures called Pogles who lived in a tree along with Pippin, Tog and their magical talking plant who told them stories when fed wine. When explained out of context it sounds completely insane, however to a child's mind it was perhaps one of the most enjoyable and influential interventions upon imagination and thus these photographs attempt to encapsulate the joy of seeing a small creature move, as if unsupported on a journey across the park.
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Film Noir.
A particularly useful tool in examining relationships in photography is the relationships prevalent in film. In the film industry it is vital to display connections and relationships between characters but also for them to have a relationship to the audience, particularly evident in the cinematography and framing as these have a serious impact upon the ambient of the scene and therefore the audiences reaction to it. This is perhaps most true of Noir films, popular in the 1940's, where the extended shadows, canted angles and altogether hypnotically suspenseful atmosphere have become film legend.
To distinguish film Noir from other genres, one must take into account the many conventions of its cinematography. The include very low key lighting, much of the atmosphere produced by disseminated lighting through smoke and fog, very distinct contrasts in light and dark to highlight and conceal key areas of narrative as well as including diegetic lighting such as street lamps to generate atmosphere, shadows and silhouettes being brought into perhaps as high a prominence as the characters themselves in order to emphasise the dark and secretive 'double agent' style lives of many of the characters and of course the extreme camera angles and distortion inspired by much German expressionist films. In these films the relationship between the characters relies heavily on the audiences interpretation of the lighting and camera angles and thus the relationship between the characters can be displayed without any need for dialogue and instead by the reading of a shot.
A particularly useful tool in examining relationships in photography is the relationships prevalent in film. In the film industry it is vital to display connections and relationships between characters but also for them to have a relationship to the audience, particularly evident in the cinematography and framing as these have a serious impact upon the ambient of the scene and therefore the audiences reaction to it. This is perhaps most true of Noir films, popular in the 1940's, where the extended shadows, canted angles and altogether hypnotically suspenseful atmosphere have become film legend.
To distinguish film Noir from other genres, one must take into account the many conventions of its cinematography. The include very low key lighting, much of the atmosphere produced by disseminated lighting through smoke and fog, very distinct contrasts in light and dark to highlight and conceal key areas of narrative as well as including diegetic lighting such as street lamps to generate atmosphere, shadows and silhouettes being brought into perhaps as high a prominence as the characters themselves in order to emphasise the dark and secretive 'double agent' style lives of many of the characters and of course the extreme camera angles and distortion inspired by much German expressionist films. In these films the relationship between the characters relies heavily on the audiences interpretation of the lighting and camera angles and thus the relationship between the characters can be displayed without any need for dialogue and instead by the reading of a shot.
The influence of these films can even be seen today in pictures like 'The Brick' where extreme angles are used in order to demonstrate the reality of characters through direction and camera movement as well as acting ability, such as low angles to emphasise dominance and build tension as well as silhouettes and smoke to emphasise the dark internal psyche of the characters, thus the audience can be played with to make for a much more innovative and stimulating film experience.
For example, the images above depict a brief encounter, or potential encounter between two individuals in which one can see that the the female character is in under threat from the male, due to the low angled shots and shadowed lighting he is framed with. The audience can further connect the sharp rungs of the railings and the extended shadows they cast with a violent confrontation or a distorted personality implying the ferocity of this character [see figure 4]. The canted angle of shot one also reinforces this idea of a twisted persona by unsettling thew viewer. Furthermore, they can also see the emphasis placed on the female character with the concentrated spotlighting on her face in the shots where she turns, shocked, from the windows, as well as the traditional letterbox technique where barn doors are placed over the spotlight in order to give emphasis to the eyes of the character, drawing attention to them and implying a scheming or double edged personality [see figure 2].
The effects of shadows cast through other objects was also explored in the final image where the decanters cast fascinating patterns across the wall. In drawing the audiences eye to this wall they then take into account the arm shadow cast by the man as he picks up a piece of paper, thus demonstrating how individuals shadows can have just as much role in the narrative as the characters themselves due to the mysterious conventions of the genre.
For example, the images above depict a brief encounter, or potential encounter between two individuals in which one can see that the the female character is in under threat from the male, due to the low angled shots and shadowed lighting he is framed with. The audience can further connect the sharp rungs of the railings and the extended shadows they cast with a violent confrontation or a distorted personality implying the ferocity of this character [see figure 4]. The canted angle of shot one also reinforces this idea of a twisted persona by unsettling thew viewer. Furthermore, they can also see the emphasis placed on the female character with the concentrated spotlighting on her face in the shots where she turns, shocked, from the windows, as well as the traditional letterbox technique where barn doors are placed over the spotlight in order to give emphasis to the eyes of the character, drawing attention to them and implying a scheming or double edged personality [see figure 2].
The effects of shadows cast through other objects was also explored in the final image where the decanters cast fascinating patterns across the wall. In drawing the audiences eye to this wall they then take into account the arm shadow cast by the man as he picks up a piece of paper, thus demonstrating how individuals shadows can have just as much role in the narrative as the characters themselves due to the mysterious conventions of the genre.
Objects.
When working with relationships as a theme, it is also imperative to display the relationships objects. One could firstly examine the work of Peter Fischli & David Weiß, two Swiss artists that have collaborated since 1979 (until the death of Weiß three years ago). Their short film 'The way things go' was described as 'Post-Apocalyptic' in its depiction of the way objects interacted and formed a chain reaction loop, eventually ending at the place it started. They also created sculptures comprised of elaborately assembled household objects, the humour of which was derived from the deliberate misuse of the objects,examining not only our relationship with them, but also their relationship with each-other by removing them from their accepted function. As can be seen from the attempt below, when three or more objects are combined in an unusual way, it alters the viewers perception of the relationship between them and therefore alters the relationship the viewer themselves has with the objects. Another artist to be examined is Laura Letinsky, a Canadian Photographer, well known for her innovative still life photography inspired by Russian Renascence painting. In her images, taken with a large format camera, she recreates the aftermath of a meal, in which the detritus of misshapen leftovers symbolise the decadence of the society along with the repressed frustration of those painted during the Renascence. She combines these images with those cut from lifestyle magazines as if to imply a link between the ludicrous meals and the philosophy we live in today, along with the hauntingly tense images of objects at the edge of shelves and tables as though just about to fall.
Her philosophy revolved around the fact that a person reveals much about themselves in the way they materialised their home as well as being fascinated by photographing a real event that had taken place, looking at the illusion and impossibility of perfection. In other words, she gives a fascinating insight into peoples relationship with heir objects and what can be deduced about them because of this relationship. Furthermore, in personal attempts at this technique of combining household objects with images from magazines, the divide between the relationship one has with the objects becomes apparent. In other words the relationship between the real foods and the images of them is very different despite the fact that they are in essence the same. It also gives an oddly eerie effect and stirs up discontented emotions in the spectator, highlighting the fact that once our perception of an object changes the relationship we have with it changes also due to the lack of context our brains can apply. |
Further artists for investigation could include Richard Wentworth, a British artist, curator and teacher whose work with objects revolved primarily around subtle juxtaposition of the everyday. THis altered the way we view objects and subsequently the environment they are in, exposing much about the relationship an object has with its surroundings. This can also frequently occur in everyday life as well as being manufactured and gives a beautifully tangible insight into the unusual interactions of objects in the world. In order to explore this, and to explore the works of artist David Zilber, a thirty minute walk was devised upon which images were taken of unusual relationships between discarded, lost or broken objects and the similarities they hold visually to other aspects of everyday life. |
The following images where taken in regard to both these artist's works of a brief walk around crouch end observing the broken or forgotten objects out of their ordinary context. Particularly in the images of the beribboned permit sign we can see that, when decorated, the otherwise dull or perhaps even despised object attains the connotations associated with gifts of children's birthday parties in which the doors are adorned likewise. We also get a sense of the inside creeping out with the book left on the wall outside as if being read, thus implying a sense of communal experience as the inside is shared with the general public. However, one also gets a sense of sadness when looking at the objects left behind, particularly the coffee cup as it indicates the tendency people have to discard their rubbish in a mundane manor. However, when this is combined with the low angled shot of the same object, the cup attains heightened significance and we can therefore deduce that framing is also imperative to assessing the relationship between viewer and subject.
Exam project.
Nightmares and Dreams.
In order to further explore the relationships objects have when taken out of context one could begin to look into much surrealist photography. Surrealist artists thrive off the offsetting of objects, places and subjects to create warped and sometimes disturbing visual images, primarily effective due to the fact that they subvert the normal way one would look at the subject. These images often elegantly explore the relationship between people and everyday objects by making them interact with them in an impossible way, almost personifying the objects themselves and giving them personality. Partially inspired by this and the work of Susan Burnstine, (see context) the theme of relationships could be explored in terms of surrealist dreams, neatly encompassing the themes of Childhood and memory as well.
One can also look to Dina Goldstein, another Canadian photographer, for inspiration in examining the way ones perspective will change from youth to age. In her series of images she looked at traditional fairy tales and children's toys and the reality of their depressing or damaging relationships: Beauty getting plastic surgery or Barbie and Ken and their 'plastic' relationship. By offsetting these well known images in horrifyingly adult and perhaps more accurate scenarios she allows us to examine not only the fantastical way we view things as children but also the potentially corrupting relationships we have with image and beauty due to the blatantly creepy stories we are told, and indeed making sense of the twisted nightmares that stem from them. |
This image in particular from her series 'In the Doll House' features a woman, styled like the traditional barbie doll at a table set for dinner. The robotic positioning of her arms and legs evoke the mechanical way in which barbies are most often positioned and subsequently bring into mind a feeling of discomfort or alienation from the inhumanly angular stance. This indicates the discontent and artificiality in the classic Barbie scene and creates a negative outlook on the message it passes on to the children who consume it. The very overly decorative setting and lavish table display is offset by the low key lighting, indicating the unfulfilling and artificial nature of this lifestyle. It is layered with perhaps more irony due to the fact that she, being a doll will never be able to eat the food, reinforcing this negative outlook upon the facade of beauty in a manufactured setting.
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This second image from her series, 'fallen Princesses' is perhaps still more haunting in its portrayal of the repressive nature of beauty in modern society. Different from the other works [such as the figure of Beauty above] this image does not provide an opinion about the damaging reality of artificial beauty, but instead provides a sinister observation of the expose to which the princess Ariel would undergo of she where placed in a real world context. The expression on her face implies the entrapment she feels, however the mimicry in the position of the young boy creates an oddly similar feeling in those who are free, perhaps suggesting that it is the fact se is trapped and unattainable that makes her desirable, a philosophy that could be extracted from her traditional story. (If approached with a highly satirical outlook.)
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Similar to the previous image, this picture generates sympathy for the plight of the princess depicted in the audience. This one expounds upon the popular fairy tale, The Princess and the Pea, in which a delicate princess is so fragile that she is bruised by a single pea felt through many mattresses piled on top of one another. This picture alters the context of her mattress tower and places her in a garbage dump, perhaps indicating the value this kind of childish story has in an adult society. This could be making a comment about the abrupt cold contrast the childish world of fairytales has when confronted with the harsh reality of adulthood, potentially indicating the dangers of blinding children to the more frightening aspects of life as they will become lost, as the princess is, when faced with reality. However, this is a very negative outlook upon the world and disregards the fact that a child's imagination is one of the most beautiful and brilliant sources of inspiration, particularly in a dream state, when fears and everyday influences are warped and combined.
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The inspiration for the images below came from a combination of this altered perspective on childhood influence and the dystopian world of dreams inspired by the surrealist photography of Burnstine. This was also combined with the highly surrealist work of Deborah Turbeville, an American fashion photographer. Her images created a much darker approach to fashion photography and indeed a highly surrealist one. Her image create a similarly dreamlike effect to Burnstine's work by blurring or partially obscuring parts of the subjects. This gave the sense that the subject had something concealed from the audience as they could not see or entirely understand them. A sense of unease is created by this, and the peculiarly jarring composition and sepia like colouring of many of her photographs, recreating the feeling of irregularity and fear that many people have felt when experiencing a childhood nightmare.
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The following images where taken in order to emulate a dream state. This was designed so as to look influenced by commonly known fairy tales so as to give an impression of the outside influence that shapes ones relationship with themselves. A dream state is a highly interesting one as it highlights a person at their most vulnerable and most creative. It combines fears, desires and external influence and creates a representation of the self unburdened by rationale or even morality. The images draw attention to the often confusingly horrific nature of fairy tales by indicating the way they can be warped and taken out of context to perhaps cause a negative evolution into adulthood by forming surrealist and vaguely unsettling images which should manufacture a sense of unease in the audience. They where therefore also intended to indicate the relationship between children and their adult selves; one shaping the other, and the relationship one has with themselves overall.
These images where inspired by the fairy tale Hansel and Gretel in which a wicked father lures his children into a forest, where they get lost, are captured by a witch, almost eaten by her until eventually burning her to death. This story, while blatantly horrific out of context seems to be perfectly logical as a child. However when it is placed into a dream like, surrealist setting the innate fears it expounds upon become clear. The audience can examine the fear of being abandoned by ones parents that is somewhat present in all people, and indeed the fear of succumbing to the temptations of the sweet treats which cause Hansel to provide ample meat for the witches consumption. This was designed to raise questions about the way in which childhood experiences shape our fears by showing them as a product of a nightmare. Hopefully this will enable the audience to examine the roots of their fears and indeed the relationships they have with their younger selves, shaping their growth into the adult they have become.
These images where inspired by the fairy tale Hansel and Gretel in which a wicked father lures his children into a forest, where they get lost, are captured by a witch, almost eaten by her until eventually burning her to death. This story, while blatantly horrific out of context seems to be perfectly logical as a child. However when it is placed into a dream like, surrealist setting the innate fears it expounds upon become clear. The audience can examine the fear of being abandoned by ones parents that is somewhat present in all people, and indeed the fear of succumbing to the temptations of the sweet treats which cause Hansel to provide ample meat for the witches consumption. This was designed to raise questions about the way in which childhood experiences shape our fears by showing them as a product of a nightmare. Hopefully this will enable the audience to examine the roots of their fears and indeed the relationships they have with their younger selves, shaping their growth into the adult they have become.
In these images, an overly grainy setting was placed over the camera, as well as a monochrome filter. This brought in the connotations of a black and white film and indeed the films of many adult's childhoods, enabling an older demographic to connect with the representation of childhood in the images. This also gave it a vaguely surrealist view which was furthered by the canted angles oddly vacant stances of the girl, juxtaposed with the forest and household items. This was designed in order to symbolise the combination of the fantastical and the every day in dreams so that the audience can examine the relationship between the unusual values in traditional fiction. The way that the child is blurred as she runs in some of the images hopefully indicates the unsurety children have in dreams and indeed the outside world.
Obsession: ambivalent becomes necessity.
One of the most fascinating aspects of relationships to be explored is undoubtedly obsession. When technically defined obsession describes a state where an idea or thought that continually preoccupies or intrudes on a person's mind. It also implies that this person is powerless to resist these thoughts striking up a wonderfully impossible relationship between a being and an abstract concept which they themselves have imposed and yet cannot escape from. Obsession in photography can be explored in many ways, likewise, it is a common theme used in the film industry as its basic rawness and impassioned nature makes for very gripping and moving cinema. For example, the recent oscar winning production 'Whiplash' directed by Damien Chazelle
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is a superb band massively brilliant example of a film about obsession. Not only was it cinematically original with almost Edgar Wright esque editing choices (though obviously far more subtle) but it also, down to the magnificent acting ability, demonstrated the extremities of how damaging an obsession can be to the point where the lead no longer cares about his physical well being as long as he can be the best drummer. The confusingly twisted and brutally egotistical teacher tortures him to the point at which he pushes himself farther than is considered humanly possible, posing a contorted and blatantly corrupting question about weather or not it is pure genius or insanity that he pushes himself to this level. In other words, obsession can be one of the most moving and touching aspects of an art form for and audience due to its massively deep rooted questions abut humanity and sanity and is therefore a predominant feature to consider when examining the theme of relationships.
For the theme of obsession, one key photographer to consider is Sophie Calle as she is not only interested with obsessive relationships which se examines in her pictures, but also manages to develop such relationships with her own images and subjects. This French, writer, photographer, installation artist, and conceptual artist who based several photographic series around the theme of obsession. One series, 'Please Follow Me,' began when she returned to her home tow of France and began following around individuals in order to rediscover the city. In tracking certain people she found that she could ascertain a lot about their individual lives from the way they moved around the city. She became obsessed, and went to venice in order to photograph a man she had met previously in france. Her fascination stemmed from the ability to maintain an intimate relationship with someone while retaining a detached distance, sometimes being able to ascertain the most intimate aspects of a being, not by talking to them directly but by looking at the traces they leave behind.
The vantage point from which these images are taken is particularly evocative of obsessive behaviour. Each is taken from behind the subject, (undoubtedly because the photographer was actually stalking them)and all from a safe distance away. If we look to the image in the bottom left corner, the composition is highly illustrative of the detached relationship between the subject and the photographer, due to the glass door that divides them and particularly the way that the face is concealed by a bar. This image instills the desired feeling of separation between the audience and the subject, however, when it is combined with the other images we are given the vaguely creepy sense of obsession as the man is followed through the streets always looking away. The audience almost begins to desire to see the mans face and indeed to desire his response, almost developing a mini obsession themselves. Therefore the images create an accurate representation of the build up of emotions that can lead to an obsessive relationship. The black and white colour she has used to take her images also develops the connotations of a spy film, furthering the sense of perilous curiosity due to the dangerous outcome of many of the stalker like scenes envisioned in the traditional 'Bond' scenarios. This is also true of the arched architecture, again highly evocative of the beautiful locations, particularly in noir and mafia themed films.
To begin to explore the theme, a similar activity to what Sophie Calle worked on was carried out. Strangers were followed around Crouch End from a safe distance so as to evaluate the effect obsession has on both the photographer and the audience. In a way, an obsession is created for the photographer and it is interesting to see weather this comes across to the spectator. Hopefully the level of detachment spawns intrigue as well as a subtle yearning. However it can definitely be said that it does not successfully express the full extent of the passionate and potentially damaging relationships it can create within an individual, therefore more conflicting photography would benefit the theme.
While taking the images above, it became apparent that one can reveal a lot about a person without knowing them at all. Particularly in the images of the happy couple waling down the street, a delightful amount of whimsy came from watching them stereotypically looking in the window of an estate agents and a toy shop and then reaching across to hold each-others hands. These actions indicated the future thy could have been potentially planning together and illustrated the possibility of insight into the stage of life they where at; the hopeful 'beginning.' A level of insecurity came out, particularly when the woman drew closer to the man when a large number of people obstructed their way. Here, Calle's obsession became understandable, as following these people, even from a distance, subtle aspects of their person came out and highlighted the aspects of the self that are visible tot the outside that everyone gives off completely unconsciously.
Another subject, The old man, was also interesting. Although it was missed on camera, during his short walk to the supermarket, he stopped momentarily to sit on a bench. Before his destination was clear, his slow pace and momentary pit stops posed much speculation about weather he was walking for pleasure or purpose and in turn revealed the nature of his movement in age. It appeared that even though he did have a purpose for his journey, he was still savouring the in between state, so very different to the images of younger people directly rushing from one place to the other. This gave the old man much more wisdom and pace, indicating that he understood the nature of life as something to be enjoyed generating both delight and pleasure simply in his existence.
It was also interesting to look at the man dressed in bicycle attire who began his journey without a bicycle. due to his unusual headgear and jacket he was intriguing to they eye, not fitting with the context he was in. Because of this he generated intrigue and the photographer desires to know why he is dressed in this way and where he is going. Because of these revelations about the subjects, specifically at the hands of the photographer, this theme is perhaps one of the most interesting to explore as it has the capability to not only display an obsession to the audience but also generate one behind the camera. The relationship the audience member has with the strangers in the images can develop into a vaguely obsessive one, but also highlight the fact that obsessions like this exist and can come about easily in a largely un-sinister manner.
This, as a representation of how an obsession can begin, is the perfect starting point to examine the relationship an obsessive person has with their prey. An overpowering desire to understand them, coupled wit a desire to be completely unseen. Indeed, this desire can turn inward due to the one sided and conflicting relationship between obsessive and obsessee.
Another subject, The old man, was also interesting. Although it was missed on camera, during his short walk to the supermarket, he stopped momentarily to sit on a bench. Before his destination was clear, his slow pace and momentary pit stops posed much speculation about weather he was walking for pleasure or purpose and in turn revealed the nature of his movement in age. It appeared that even though he did have a purpose for his journey, he was still savouring the in between state, so very different to the images of younger people directly rushing from one place to the other. This gave the old man much more wisdom and pace, indicating that he understood the nature of life as something to be enjoyed generating both delight and pleasure simply in his existence.
It was also interesting to look at the man dressed in bicycle attire who began his journey without a bicycle. due to his unusual headgear and jacket he was intriguing to they eye, not fitting with the context he was in. Because of this he generated intrigue and the photographer desires to know why he is dressed in this way and where he is going. Because of these revelations about the subjects, specifically at the hands of the photographer, this theme is perhaps one of the most interesting to explore as it has the capability to not only display an obsession to the audience but also generate one behind the camera. The relationship the audience member has with the strangers in the images can develop into a vaguely obsessive one, but also highlight the fact that obsessions like this exist and can come about easily in a largely un-sinister manner.
This, as a representation of how an obsession can begin, is the perfect starting point to examine the relationship an obsessive person has with their prey. An overpowering desire to understand them, coupled wit a desire to be completely unseen. Indeed, this desire can turn inward due to the one sided and conflicting relationship between obsessive and obsessee.
Audience and Image.
A further investigation into relationships could be how a relationship between two individuals can be expressed through photography specifically, with emphasis on micro elements to generate atmosphere. These elements can range from lighting, to camera angles, colour, framing and potentially even accompanying sound in order to demonstrate the relationship.
Initially the two people in the images have to have a back story which which to express. Taking inspiration from film noir one can surmise that a corrupt relationship, one marinated in espionage, can be the most interesting to examine.
A photographer who makes excellent use of the Noir conventions is Brassai, the Hungarian Photographer, Sculptor, Writer and Filmmaker. His work 'captured the essence of the city' particularly in his first collection, published as a book in 1933, entitled "Paris de nuit" which translates to 'Paris By night.' Particularly due to the highly evocative nature of noir like photography and undoubtedly Brassai's film making roots, the images he took managed to express a high level of emotion and indeed can be said to bring up not only the audiences relationship with the shapes created but also to generate relationships between the subjects involved.
Initially the two people in the images have to have a back story which which to express. Taking inspiration from film noir one can surmise that a corrupt relationship, one marinated in espionage, can be the most interesting to examine.
A photographer who makes excellent use of the Noir conventions is Brassai, the Hungarian Photographer, Sculptor, Writer and Filmmaker. His work 'captured the essence of the city' particularly in his first collection, published as a book in 1933, entitled "Paris de nuit" which translates to 'Paris By night.' Particularly due to the highly evocative nature of noir like photography and undoubtedly Brassai's film making roots, the images he took managed to express a high level of emotion and indeed can be said to bring up not only the audiences relationship with the shapes created but also to generate relationships between the subjects involved.
By firstly looking at this image of a couple in the street one can evaluate the relationship between them even with no prior information. Firstly, the framing of the image implies a tenseness to the situation. The frame is enclosed and the couple are compressed in close proximity to one another. This indicates a level of attrition to the proceedings and indicates to the observer that the conversation could theoretically evolve into something sinister. When he was taking his images it was said that Brassai was "reveling in humanity" not shying away from the darker aspects f the world but expounding upon the fact they were there and should therefore be looked at. In this way, we can assume that his images where not designed to shy away from the harmful aspects or frowned upon aspects of Paris. the traditional clothing from the time can also bring up the feelings associated with the common spy thrillers or noir epics, featuring espionage, betrayal and danger. Therefore by merely using artful framing, and indeed lighting with dark and mysterious connotations, Brassai managed to create a relationship between the two subjects without aid of a conventional narrative.
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Interestingly, a relationship can also come to fruition even when there are no people in the image. If one looks at this seemingly simple image of a winding road by night one can evaluate the relationship they have with the shapes and colours presented. For example, deeply shadowy connotations of the setting imply secrecy and a hidden emotional darkness to it. This, in turn, allows the audience to examine the relationship they have with Paris in its darkest element and therefore look at the more twisted aspects of the society as something beautiful and tangible. This attitude is reinforced by the twisting shapes created by the road itself, as thy imply the contorted nature of many of the goings on around Paris and indeed bring them under the scrutiny of the audience so that they can examine their feelings about them. this could have been creating a vaguely satirical message about the lack of observation from the upper classes of the lower lives in Paris at the time due to Brassai's exposure to much of the high class culture and indeed the images taken of it. of course it must also be considered that the images are also a celebration of this dark side as it contributes to the rich culture of noir film and photography that must indeed by cherished in the brilliance and emotional messages it provides.
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The sheer beauty of the foggy backdrop of this image is in itself a valid explanation of why Brassai felt the landscape was worth capturing. It is key to the understanding of his photographs to acknowledge the fact that Brassai is an observer, not a creator of his settings. He both takes for granted, and relishes in the brilliance of the world around him, thus making for the perfect example of a relationship in photography as he demonstrates the joyful one between artist and product. (As well as highlighting some of the most fascinating relationships through the use of noir techniques)We can see again in this image that he has successfully alluded to the darker side of beauty in the lonely looking gargoyle that also observes the setting while simultaneously he forces his audience to examine their similarly wistful relationship with an areal vantage point by reproducing the beauty of France as a whole while maintaining its ties to a darker underbelly.
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These images where taken in order to evaluate this relationship between audience and atmosphere. The area around Hornsey Town Hall was explored at night to examine what shadows and pre-made atmosphere could express about the area in darkness. The setting was selected due to its specifically 1940's style and its links with traditional film noir. Firstly, there is a definite link between framing and architecture to generate atmosphere, thus the shapes created by buildings and other objects were used in order to either raise or lower tension.
It can be deduced that the viewer of an image has a deeply complex relationship with the connotations created by film noir style settings and micro features, and thus this series illustrates the intermingling relationship between audience and photographer which is so often overlooked by people focusing purely on the message of and individual image. However, through taking these images, it became clear that it was less effective when purely taking pictures of a location, to convey an emotion or subtext. (Particularly with the lack of available resources in location in that it is not actually the 1940's)The images taken for the film noir portion of the course examined this relationship between audience and image in much more depth due to the narrative structure and interior control over everything in the shot.
It can be deduced that the viewer of an image has a deeply complex relationship with the connotations created by film noir style settings and micro features, and thus this series illustrates the intermingling relationship between audience and photographer which is so often overlooked by people focusing purely on the message of and individual image. However, through taking these images, it became clear that it was less effective when purely taking pictures of a location, to convey an emotion or subtext. (Particularly with the lack of available resources in location in that it is not actually the 1940's)The images taken for the film noir portion of the course examined this relationship between audience and image in much more depth due to the narrative structure and interior control over everything in the shot.
The images involving the twisted tree could illustrate the deeply tangled and mysterious subtext to the location, along with drawing in the connotations of fairy tales as the branches are reminiscent of the commonly written about vines concealing the 'prince' from his goals. Atmosphere could also be generated by the use of silhouettes created by street lamps and projected onto walls. This gave an excellent representation of the translucent personality of the spies present in noir epics. The shape of the figure, with the classic trilby hat, raises the connotations of the film style and indeed the profession, enabling the viewer to evaluate their associations with it. Although this did prove effective, the most impactful images occur when the photographer has complete control of the mise-en-scene and a clear narrative structure. In this way it can be deduced that it is not purely the atmosphere of the setting that creates meaning for the audience as they require a focal point of narrative in order to connect with the image most effectively. However, the atmosphere does play a massive role in the meanings generated for a spectator.
Final strand. Illusion in relationships: Obsession.
The most interesting of these three strands for development is undoubtedly the theme of obsession, particularly due to the fact that the series of images taken [above: ambivalent becomes necessity] did not fully express the extent to which the madness can drive an individual. In order to illustrate these feelings one needs to find a way of expressing this completely unwarranted and unnecessary but blazing power that inevitably will turn inward and destroy them. In order to evaluate the potential ways of showing this, further investigation needed to be taken into the theme so as to evaluate the most effective objects or connotations that the audience can associate with obsession. For example, one could be the linked with many popular detective stories of crime television programmes in which the investigator will use pieces of wool in order to connect their clues together on a board [see image right from Heroes] (becoming more poignant with its evolution out of the board and around the rom at the end of season one). The more string used the more confusing the case, the more connections are made and the more obsessive the investigator can become, hence a build up of colour and overlapping string can indicate to the audience a more ferocious obsession with a much more lively passion.
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Obsessions are an imperative aspect of the damaged human being. This is due to the fact that they are completely disconnected to the outside of the protected bubble they create in their mind. An obsession forces the ambivalent and the disconnected to become something the being can connect with, and indeed something they feel they cannot live without. This peculiarly one sided but ferociously ardent relationship is on of the most compelling and indeed most disturbing due to its often completely nonsensical origins and reasoning juxtaposing with the occupied mind's overwhelming necessity for it.
It is also highly interesting as more often than not the perceived relationship the obsessive has with their objective is in actual fact merely a twisted relationship with their most vulnerable and raw aspects of themselves. Ergo an obsession can simultaneously illustrate a persons damagingly one sided relationship with their prey and an all the more worrying relationship with themselves which they can only see for the ordered web they create in their mind and not the contorted and knotted one visible from the outside.
It is also highly interesting as more often than not the perceived relationship the obsessive has with their objective is in actual fact merely a twisted relationship with their most vulnerable and raw aspects of themselves. Ergo an obsession can simultaneously illustrate a persons damagingly one sided relationship with their prey and an all the more worrying relationship with themselves which they can only see for the ordered web they create in their mind and not the contorted and knotted one visible from the outside.
In order to examine the perimeters the strings connotations can extend to, a series of images were taken in areas around London. These follow a piece of strings journey and hopefully represent the interlocking aspects of a persons mind that generate this web of necessity. The image of the string is a highly useful one as it can also demonstrate the tangle of obsession visible from the outside that appears ordered to the individual. The perspective of these images where designed in order to represent the obsession from the perspective of the obsessive when it seems perfectly logical. Like the image of the map, from an outside perspective the mish mash of strings looks unintelligible, however a single strand moving throughout a city represents the clarity of the affected mind despite the reality, analysing the relationship between their perception and that of sanity. This tangled knot of the mind can therefore be expressed as metaphor in the string itself. In order to show this, the images where also experimented with by wrapping the camera in the string as well to intimate the way that the mind is wrapped up, obsession barring their view.
By selecting a highly commercial and therefore busy area of london, the image where able to demonstrate the lack of importance this seemingly vital organ of London's culture can have on an obsessed individual. The focus and depth of field where also experimented with. By positioning the majority of the images with a soft focus background and a very minute focal point, one can demonstrate the single pointed mindset and haze of disregard in obsession. The relationship one would usually have with the image in landscape photography is subverted as the audience cannot clearly see, making evident a warped an adjusted mindset and indeed relationship, very different from the accepted norm.
By selecting a highly commercial and therefore busy area of london, the image where able to demonstrate the lack of importance this seemingly vital organ of London's culture can have on an obsessed individual. The focus and depth of field where also experimented with. By positioning the majority of the images with a soft focus background and a very minute focal point, one can demonstrate the single pointed mindset and haze of disregard in obsession. The relationship one would usually have with the image in landscape photography is subverted as the audience cannot clearly see, making evident a warped an adjusted mindset and indeed relationship, very different from the accepted norm.
In order to experiment with the audiences perception of the string, and to further a sense of surrealism, the colour was removed, except for there red of the string. This gave the image a slightly mournful impression and, almost over-zealously, reinforced the representation of an ardent focus for the mind. This was done by duplicating the image in a Photoshop window and layering one over the other. The first layer was then converted to black and white and the 'rubbing' tool was used in order to remove the monochrome colouring from the areas where the red string would show through from the coloured image below [see diagrams above]. However it did not really convey the effective levels of insanity as it gave a more measured and melancholic look to the images because of the connotations imbibed by black and white photography and cinema. However it could also be said that this further demonstrates the order that the obsessed mind will see as to them their thoughts around their obsession are perfectly logical and controllable; something they take comfort in. Though in order to express this to an audience this would have to be presented alongside some more contorted images or perhaps ones of the tangled map in order to demonstrate the disparities between the two perspectives.
The following images where taken in order to further examine this metaphor of string. A brief stop motion animation was created in order to give the impression that the string is winding itself up the arm of a young subject. This subject was selected so that the youth would be visible in the skin and therefore illustrate the level of vulnerability caused by an obsession. The subject's face was also not shown so that the audience could focus on the string itself as opposed to the mind of the subject. In this way the personification of the obsession is the predominant focus for the audience, and they are not distracted by their own relationship with the subject and the presumptions that they bring. From this, one could possibly examine the audiences specific reaction to the string as a metaphor and examine weather or not it is believable as the sinister representation of obsession. However, possibly due to the whimsical nature of stop motion, the sinister effect desired did not entirely come across.
One could also consider the photographer Dryden Goodwin, a British artist and photographer, who did similar work to Sophie Calle in his series 'Cradle.' His images where more in depth however, as he took close up pictures of strangers he saw, printed them off and worked into the actual images, getting to know the subject by analysing each aspect of their facial structure, in a far more serial killer esque was of developing a relationship with strangers. By picking apart each aspect of the strangers he creates a similarly obsessive vantage point from which to generate a relationship which is also very one sided. However, by dissecting every aspect of the face he gets to know their character from a more biological standpoint, examining the way that their environment and heritage has impacted upon their appearance instead of their movements.
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As one can see from the image to the right, that the photographer can get to know the subject of the image in much more depth by examining all the contours of the face in great detail. The fact that the images are zoomed in from a great distance brings in a vaguely sinister nuance to the pictures and reaffirms this obsessional perspective. The relationship between photographer and subject is also layered with a malevolent aura due to the accepted detachment juxtaposing with the in-depth analysis and closeness of the spectator to the subject. This perfectly encapsulates the perverted nature of a personal obsession due to the mismatched levels of connection in the relationship between the individuals.
A link can be made with the obsessive way that the photographer has drawn around the face of the subject and the tangled web of strings stemming from the map theme. A metaphor can be dawn from this contorted way in which the artist has obsessed over the aspects of the face and as visual representation of obsession.
From this further analysis of the theme of obsession can grow in demonstrating the way in which the string can represent a tangle of ideas to the audience. By wrapping the head of a subject in the string one can represent this contortion in an external way as opposed to the seemingly clear path demonstrated in the first set. A stop motion animation can also be created in order to personify the string and illuminate the easy an obsession almost takes a mind of its own in its control of the obsessive. Furthermore it can also represent the way in which the individual sees their relationship as two sided as the obsession moves of its own accord, trapping and encasing them. This becomes increasingly more sinister when it is considered that an obsessed individual cannot escape the confines of their obsession even though they are the ones that brought it to life; examining this peculiarly delusional relationship that is both living and subjective.
A link can be made with the obsessive way that the photographer has drawn around the face of the subject and the tangled web of strings stemming from the map theme. A metaphor can be dawn from this contorted way in which the artist has obsessed over the aspects of the face and as visual representation of obsession.
From this further analysis of the theme of obsession can grow in demonstrating the way in which the string can represent a tangle of ideas to the audience. By wrapping the head of a subject in the string one can represent this contortion in an external way as opposed to the seemingly clear path demonstrated in the first set. A stop motion animation can also be created in order to personify the string and illuminate the easy an obsession almost takes a mind of its own in its control of the obsessive. Furthermore it can also represent the way in which the individual sees their relationship as two sided as the obsession moves of its own accord, trapping and encasing them. This becomes increasingly more sinister when it is considered that an obsessed individual cannot escape the confines of their obsession even though they are the ones that brought it to life; examining this peculiarly delusional relationship that is both living and subjective.
These images, combined with the stop motion animation, where largely effective. Firstly they manage to display the effective level of invasiveness as the follow the pattern of a sketch artist outlining a human head. This provides a sense of scientific analysis of the face and gives a slightly psychopathic connotation as the audience can link it accordingly. The steady enwrapment then illustrates the uncomfortable entrapment and increasing clouding of the mind that occurs when the obsession take over. The colour red also indicated the danger the individual is in due to the uncomfortably panicked effect it instills in the audience. A link can also be drawn here to the artist Mila Preslova, who produced an image of a woman, naked, and knitting; her head entirely consumed by wool. [See left] These images provide a similar level of 'smotherdness' and also imply the magical assumption that the woman is almost knitting herself. However, where her images provide comfort in the softness of the woollen shroud and also a level of safety in concealment and the slightly bored expression on the face imply they are slowly and steadily revealing themselves to the outer world, the partially visible skin and contorted facial expressions of the subject of these images implies a much more damaging relationship with the individual trying to escape from the confines of their own mind, and simultaneously tightening its hold on themselves.
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With an obsession, a human being can almost become entirely overwhelmed by their 'object of affection' this becomes such an integral part of their identity that they are almost not themselves without it. In order to express how the obsession take over the whole life of the individual as well as the mind, these images where taken, alongside the ones above, in the home of the individual. By creating images of their home covered in this web, one can almost see how the string has spilled out of the mind to take up the individuals entire existence. One can then go on to look at the ways in which the individual is lead by the obsession, comparing these images with the first set; contrasting this single pointed clarity with the entrapping and blinding reality of the obsession. These themes can then be combined by conveying as level of movement in the images to almost illustrate a level of attrition or battle between them and their obsession. The string then appears to be pulling them and squeezing them into different directions. This stage of an obsession marks the point in which the individual no longer has any control over their actions as their whole life is consumed by the force that they are dependant on. The audience can therefore gain a sense of panic or entrapment in order to fully understand the dangers of an obsession.
In these images the relationship between the individual and the obsession becomes more apparent. In image six, the haughty expression on the subjects face implies the difference that an obsessed person feels between themselves and the rest of the world, often resulting in a feeling of authority over others. However we see a contrast to this in images three and five when the high angles shot through the lamp implies a sense of entrapment almost looking up like a child asking for help from a parent. The obscured lens furthers this sense of partially obstructed world view and gives the audience a feeling of looking in from the outside and providing a feeling of empathy similar to that of those close to an obsessed individual. Image two also provides an interesting image, of the individual eating their obsession, implying that it has perhaps become so intertwined with their life that it almost provides them with sustenance, no other nutrition is considered valuable. Finally the almost sleepy stance in image four implies that the individual is comforted by their distressing situation despite the fact it is so blatantly entrapping. Thus these images explore the many different levels of the relationship a person can have with their obsession; derisive, comforting or fearful; emphasising the insanity of these conditions.
However the images did not quite have the desired effect as it would have been more beneficial to create an entirely artificial and atmospheric environment to generate a very dark and drab setting. In a way this comes across wit the fact that the subjects dress blends in with the chair she sits in, however this is perhaps too subtle to be very effective. In order to further examine this aspect of an obsession a better setting should be found that completely isolates the individual and the string. These images are not hindered by the change to black and white like the first set where however. This is due to the fact that the connotations of the family oriented backdrop are erased, however in order to increase a sense of trepidation, the colours surrounding the red would have to be darkened or altered as well as constructed camera angles to provide a more sinister or warped perspective.
However the images did not quite have the desired effect as it would have been more beneficial to create an entirely artificial and atmospheric environment to generate a very dark and drab setting. In a way this comes across wit the fact that the subjects dress blends in with the chair she sits in, however this is perhaps too subtle to be very effective. In order to further examine this aspect of an obsession a better setting should be found that completely isolates the individual and the string. These images are not hindered by the change to black and white like the first set where however. This is due to the fact that the connotations of the family oriented backdrop are erased, however in order to increase a sense of trepidation, the colours surrounding the red would have to be darkened or altered as well as constructed camera angles to provide a more sinister or warped perspective.
One can gain a sense of surrealism from the slightly blurred nature of the images and the frequently concealed face of the individual. This gives an indication to the audience of the moment in an obsession when it gains a mind of its own becoming a sort of surrealist monster that the individual can't control. One also gets the impression from image six that the individual is almost attempting to examine the obsession, however she is so tangled in it that she can no longer determine what is the obsession and what isn't. To move on from this set of images, one can make links between the mish mash of strings encasing the person and link it to a tangled marionette; another form of strings controlling an individual like a puppet.
To explore the theme without aid of 'the string' metaphor, the photographer Francesca Woodman was investigated. wI her images she herself moved over the camera's view in a series of abandoned and broken locations in order to give the impression that she was both present and absent from the image. These photographs create an almost ghost like or etherial presence in the image. They then become even more poignant in regards to her suicide at twenty three years of age, making her images a metaphor for her mental trauma; a person both preset and absent from normality and sanity. This effect also applies to the theme of obsession as it can convey the shadow of an obsessee in the real world, predominately existing in their own mind. The vague glimpse and the movement of the individual also hints at the struggle they have as it gives connotations of a strain to achieve opacity. Heavily inspired by the surrealist movement, Woodman made a point not to fully explain her work, in her words desiring to "crack the code of appearances." Hence the viewer is asked to examine what they themselves get from the image, and subsequently what that says about themselves.
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In this way Francesca Woodman is the perfect artist to explore the theme of relationships as her images ask the audience to examine their own relationship with the photograph. She also confessed a desire to have an intimate relationship with their own images, highlighting the fact that her pictures are also a deep examination of herself, hence why she is in many of them. One can then consider the fact that her pictures are enabling her to make sense of her own experiences giving way to a closer relationship between audience and photographer as we can see her own troubled psyche and desire to be understood, if not by the public, then by herself.
These images where initially taken with the camera settings catered toward close up shots. This was done in order to create the impression that the subject was blurred due to the pin point focus the camera attempts to make. However, due to the still present clarity of the images, the subjects movement was not fully captured as the image managed to fit her in one frame. This meant that different avenues had to be explored, and the camera was set on shutter-speed priority, and lowered to 3.0. This was far more effective as the slow shutter speed enabled the camera to capture the subject in different stages of her movement, giving the spectral impression that she was both in all the areas of her movement and none of them. The movement visible in the traces left behind imply a sort of tortured dance. Particularly in images four and two, the contortion of the movements emphasise a desire to escape from her own mind in an unmoving but incessantly grappling battle with herself.
The location(of the subjects house)was selected because of its slightly hectic background which implies an expression of the self externally; an indication that the individual is trapped in a shifting state within their own mind. However this could be considered slightly distracting from the individual, like the previous colours, therefore in order to make the images more effective the setting could be made less exuberant, perhaps in a deteriorating building so as to represent the life of the individual external to their obsession, left neglected.
As inspired by Woodman, these images could be presented in a very small side as she stated that this "creat[ed] a more intimate experience between viewer and photograph," taking negatives which she developed into eight by ten inch prints.
The location(of the subjects house)was selected because of its slightly hectic background which implies an expression of the self externally; an indication that the individual is trapped in a shifting state within their own mind. However this could be considered slightly distracting from the individual, like the previous colours, therefore in order to make the images more effective the setting could be made less exuberant, perhaps in a deteriorating building so as to represent the life of the individual external to their obsession, left neglected.
As inspired by Woodman, these images could be presented in a very small side as she stated that this "creat[ed] a more intimate experience between viewer and photograph," taking negatives which she developed into eight by ten inch prints.
The intent of the following images was to develop on location. As illustrated [two sets] above, the location of an obsessed mind is in will become blotted out by their obsession. The previous images, due to the bright colours of the setting did not completely convey the extent to which an obsession takes over the mind and conceals the rest of the world. Considering this, black an white images where utilised again due to the fact that an effectively drab location was not available. Instead the location was made to look as bare as possible and altered to a monochrome colouring. However, the string was left its vibrant red in the hopes that the more sinister connotations of the manipulated backdrop would counteract the often wistful nature of black and white photography.
Particularly with the images of the door and windows covered by the string, a sense of entrapment is conveyed as they not only illustrate the way in which the life is completely encased by the obsession, but also the way it prevents an 'escape.' The image of a door disconnected from other surroundings also provides a quite haunting personification of a 'way out' made to seem surrealist and oddly threatening.
For these images the black and white combined with the red is much more effective due to the internal location. The traditionally bright colours of a family home are deadened by converting the colouring and made to appear less important in the obsessive's mind. The black and white manages to provide a lot more resonance due to the melancholic and depressing look over obsession when one compares it to what is lost (EG:family). This also implies the disturbing fact that these sorts of obsessive relationships can even occur in a comforting environment, providing new layers of contortion. The emphasis on the colour is also highlights its bloody connotations. This reinforces the idea of damage and violence, as do the canted angles of images one, seven and eight which increase tension in the viewer for a more resonating image.
For these images the black and white combined with the red is much more effective due to the internal location. The traditionally bright colours of a family home are deadened by converting the colouring and made to appear less important in the obsessive's mind. The black and white manages to provide a lot more resonance due to the melancholic and depressing look over obsession when one compares it to what is lost (EG:family). This also implies the disturbing fact that these sorts of obsessive relationships can even occur in a comforting environment, providing new layers of contortion. The emphasis on the colour is also highlights its bloody connotations. This reinforces the idea of damage and violence, as do the canted angles of images one, seven and eight which increase tension in the viewer for a more resonating image.
Final Piece.
For the final piece for this project, the two predominant themes of movement, inspired by Woodman, and the metaphor of the string where combined to make more cultivated and carefully composed images some of which could then be edited to give the string higher prominence. One of the most impactful aspects of Woodman's work is partial the derelict and crumbling locations of her images. These provide another metaphor for her deteriorating metal state and almost imply that she is trying to escape from a body that is failing her (made even more poignant by her eventual suicide). For this set of images a more impactful location had to be selected; the partially restored Hornsey Town Hall. In particular, the peeling paint of the old women's dressing room; lights flickering; wood chipped; neglected. This location is the perfect encapsulation of the effect that an obsession can have on a person; leaving their external self to break down while their internal battle distracts them from their humanity. The obvious degradation of the landscape is also an implication that it once had beauty, the connotations of the traditional row of mirrors also indicates this sense of vanity in entertainment. This concept can be utilised to make the images far more poignant for the audience as it implies that this sense of physical aestheticism is also lost in an obsession, trifles such as physicality being totally disregarded and left to rot in their inwardly consuming state. In order to experiment with this location, the setting was taken without the string first so as to analyse the effects of Woodman's techniques directly and to consider the location as a predominant representation of obsession rather than the string.
For the final piece for this project, the two predominant themes of movement, inspired by Woodman, and the metaphor of the string where combined to make more cultivated and carefully composed images some of which could then be edited to give the string higher prominence. One of the most impactful aspects of Woodman's work is partial the derelict and crumbling locations of her images. These provide another metaphor for her deteriorating metal state and almost imply that she is trying to escape from a body that is failing her (made even more poignant by her eventual suicide). For this set of images a more impactful location had to be selected; the partially restored Hornsey Town Hall. In particular, the peeling paint of the old women's dressing room; lights flickering; wood chipped; neglected. This location is the perfect encapsulation of the effect that an obsession can have on a person; leaving their external self to break down while their internal battle distracts them from their humanity. The obvious degradation of the landscape is also an implication that it once had beauty, the connotations of the traditional row of mirrors also indicates this sense of vanity in entertainment. This concept can be utilised to make the images far more poignant for the audience as it implies that this sense of physical aestheticism is also lost in an obsession, trifles such as physicality being totally disregarded and left to rot in their inwardly consuming state. In order to experiment with this location, the setting was taken without the string first so as to analyse the effects of Woodman's techniques directly and to consider the location as a predominant representation of obsession rather than the string.
The images where then re taken with the string so as to combine this photographers intentions in displaying obsession through a universal metaphor. These images where also partially inspired by Deborah Turbeville's series 'Wallflower' in which where famed for "changing fashion photography into avant-garde art." These images where far more edgy and surrealist than the usual fashion images of the time and presented a much more brooding and in depth analysis of what fashion was. This, American born photographer, utilised light in a very impactful way, backlighting her images so as to create a distorted sense of where the person ended. This technique makes the person look less human and is a perfect example of the ramifications of an all consuming obsession. This is similar to Woodman's work in that she often used windows to symbolise and inconceivable method of escape that she could not achieve. By using windows and natural lighting in these images, one can create the impact of a very entrapping and dehumanising effect of the subject. Particularly for the series 'Wallflower' Turbeville created highly similar images to Woodman. If one examines the image below, one can see the interesting framing choices of Turbeville. This image has positioned its subject very low down in the frame. This emphasises an almost crushing weight of the very dark and grainy background, for her a potential representation of the torturous station models are often placed in, surrounded by a gaudy but disorganised setting, but for others it could be considered a representation of a much wider contorted mental state, hence why her images caused such waves in the fashion sphere.
Taking this work into account, the images taken for the final piece had to have similar attention to their framing and, with a more malleable location, the images could convey the weight of an obsession by making the subject not only partially invisible, but also very small in comparison to the rest of the frame.
Taking this work into account, the images taken for the final piece had to have similar attention to their framing and, with a more malleable location, the images could convey the weight of an obsession by making the subject not only partially invisible, but also very small in comparison to the rest of the frame.
Overall, these images where largely successful. Due to the blurred effect the figure achieves, re-colouring the string creates an ineffective impact as the colour blend with the figure to produce shapes which do not flow and too unnatural. Because of this a different method for presentation had to be pursued as either the pictures had to be made incredibly small so as to minimise discrepancies, or the red enhanced technique would be used on a still image and then surrounded by edited, but purely black and white images to give the coloured picture more poignancy; these images will then be placed in an arrangement of three rows of three, with the highest angled at the top and the lowest at the bottom. Hopefully, this should create the effect of the room itself in the layout of the pictures to generate a more immersive visual experience for the viewer. Though woodman's images where printed on 10x8 size pints, these did not convey the full some of these images and would have sacrificed the impact. Combining pictures of the subject still, also added to this impact of the series overall as they allow the audience to see a further layer of madness in its fluctuations, also a warming filter improved the melancholic look and hinted at the sadness Woodman's work imbibed. Even this tiny addition of warmth to the image allows the audience to connect to it more.