A modern photographer with an interesting an delightfully innovative approach to photography is Susan Burnstine, currently working with The Photographers Gallery. In her recent and ongoing series, this Chicago born photographer explores the nature of dreams and the in between state between conscious and unconscious, which she describes as the moment in which dream and reality collide. Each series consists of three successive chapters which are designed to illustrate the three states of being, dreaming, sleeping and waking and evoke a specific metaphor, moment or "pathway to the unknown" that she describes as a bridge between real and unreal.
When Burnstine was a child she suffered from very vivid nightmares that clung to her long after she had woken, this left her in a constant state of confusion and a lingering un-surety about weather or not she was asleep or awake. She described this as "living in the shadows" which lead to the lines between magic and reality becoming blurred and a subsequently over active imagination. Still affected by these alarmingly realistic dreams as an adult she now finds clarity as opposed to fear in them and uses them as a portal between the two phases of her self by using fragments f her dreams in the images she creates.
In order to generate these photographs, she decided not to apply any post production effects wanting t portray all her visions in-camera. Subsequently, she hand crafted twenty one cameras out of plastic, old camera parts and household objects which she often found temperamental and unpredictable. She stated herself that learning to adapt to these limitations enabled her to rely upon instinct far more heavily making her images a perfect representation of her psyche.
When Burnstine was a child she suffered from very vivid nightmares that clung to her long after she had woken, this left her in a constant state of confusion and a lingering un-surety about weather or not she was asleep or awake. She described this as "living in the shadows" which lead to the lines between magic and reality becoming blurred and a subsequently over active imagination. Still affected by these alarmingly realistic dreams as an adult she now finds clarity as opposed to fear in them and uses them as a portal between the two phases of her self by using fragments f her dreams in the images she creates.
In order to generate these photographs, she decided not to apply any post production effects wanting t portray all her visions in-camera. Subsequently, she hand crafted twenty one cameras out of plastic, old camera parts and household objects which she often found temperamental and unpredictable. She stated herself that learning to adapt to these limitations enabled her to rely upon instinct far more heavily making her images a perfect representation of her psyche.
If we look at this set of three images by Susan we can see the blatant representation of as dreamlike state in the lack of clarity and blurred outlines of the locations and subjects portrayed. The first image entitled 'Passing Through' evokes and eerie sense of the semi permanent state of dreams in its almost drunken depiction of a blurred station platform (as does the title). Much like the second image, 'Fading Echoese,' we are given a commonly seen location taken out of context and placed in a less visible capacity. This gives a new perspective on the image much like the work with altering context, plumbing the depths of the significance these hold with the photographer and why they appearing her dreams. The elevated height of the second image also gives the impression of flight or freedom which dreams can often bring to the sleeper furthering this sense of escapism in the audience, however the darkened clouds also give a great impression of uncertainty emphasising the concern and worry that encumber so many minds in a dream state. The final image is perhaps the most haunting as its small glowing girl in a forest of distorted trees is highly reminiscent of fairy tale narrative perhaps symbolising the photographers link with her younger self. A sense of danger is felt by the audience as they are reminded of the threat imposed upon the miniature protagonist of these stories by a wolf or huntsmen out to destroy innocence. A relationship is therefore struck up between the innate fear of loss within dreams and the audience as they too can relate to this. It is also highly suggestive of the relationship between the artist and her younger self and the blurred background symbolises the confusion in a drive to return to or perhaps recapture this innocence and creativity. The title 'Unfolding' is equally haunting, perhaps suggesting an unfolding of understanding ones younger self or indeed the unfolding of the self as one ages.
Regarding the theme of relationships, Burnstine is a prefect example of exploring not only the relationship the photographer has with the image but also the relationship with ones self, in that her images are a representation of her at her most basic and vulnerable and when her mind is its most truthful and indeed creative. It could also give insight into her internal monologue and the way she feels about everyday life which is in turn intrinsically linked with the theme of obsession as our dreams can give great insight into what we repress and what our mind naturally seeks out.