My work examines the conflicting and often tangential desires of the modern female psyche. In a world filled with options and promise, I attempt to look simultaneously backwards and forwards. By contemplating historic female roles and modern day revolutions I hope to show how both worlds intersect for a confusing and schizophrenic lifestyle of over-inflated expectations, wants and needs. Through clothing choice and performance, I let my body and its interpretive visual language speak to the complexities of the current female’s social experience.
Selecting clothes from my own wardrobe, comprised of goodwill finds and modern day renditions on vintage items, I hope to personify the previous owner’s experience through my own lens. By contemplating her mindset, time period, social restrictions and domestic roles in relation to their modern day mutations and inflations, I hope to show the large rifts occurring in identity and sense of self. Using my body as a filter to embrace and questioning the rules and expectations of 2nd Wave Feminism, I show both what I’ve absorbed and rejected. By collapsing the generations into one body, I call into question ideas of progress, restriction, power, play and sexuality.
Sunday, February 21, 2010
Nail on the head.
Taken from a catolgue of Cindy Sherman's work, the following quote is from an article titled The Other Self of the Imagination: Cindy Sherman's Hysterical Performance by Elisabeth Brofen
"By presenting herself other then what she is, by refashioning the media images and narratives that influenced her self-image, she insists that the act of self-representation, as a means of expression, simultaneously always also performs the act it designates…..The subject of the portrait has been created performatively, in fact it can only be articulated as a performance. The represented subject can, therefore, be understood as a knot, binding together various languages that have shaped it and through which it is able to express, in a displaced and dislocated manner, its traumas, its memories, its desires and its fantasies. In addition, this represented subject performatively embodies the laws and dictates imposed upon it by the family and by society, as well as culturally acquired repertoire."
Elisabeth Bronfen, Cindy Sherman: Photographic Work 1975-1995, ed. by Zdenek Felix and Martin Schwander. (Germany: Schirmer Art Books ,1995), 14.
Although in my work, I attempt to suggest a stronger link between family and society then with my pop cultural surroundings, I think the sentiments, both general and specific, apply accurately to my work.
Saturday, February 20, 2010
Photographing the photographs
These photographs are documentation of what I've been working on this quarter. The photographs are 4x6, made to handle. I Like what they do in relationship to one another, both physically and conceptually. More installation shots to come after walk through.
Monday, February 8, 2010
Working Artist Statement
My work hinges on the implications and expectations that the modern woman can “have it all”. I use the body and it’s adornments to express both the multitude of capabilities inherent in being a modern female, and the tiring restraints that are self inflicted and culturally imposed. Using my body, it’s gesture and inherent expressive qualities, I aim to both question and convey modern expectations of dress and behavior by showing strain, self-confidence, traditional values and modern drive and success.
Sunday, February 7, 2010
In defense.
In preparation for walk through I have thought through a series of questions that might be asked by my audience and the answers as of right now.
Why the white background? It's a useful vacuum space... alludes to advertisement but it’s like the pre-shoot to test the model's ability to create a successful image. My postures would keep me from any traditional job.
Why not use a model? I didn't want to be telling people what to do or how to think. While standing in front of the camera I am interpreting a lot of things I've consume, clothing culture, political culture and familial culture and then sending those thoughts out through my face and body. It would be difficult and inorganic to put that pressure on someone else. And I'm a control freak.
Also, using myself alludes directly to the introverted gaze and subverts the male/audience gaze. Being the only person of judgement in the room allows for full freedom of expression.
How do I choose the clothes? I choose clothes from my existing wardrobe, comprise of mostly second-hand finds. MY personal taste draws my to old items with character and history. I frequently shop at goodwill and second hand stores in search of fashion inspiration. This same inspiration translates to the pictures. I am using these garments with a history or a story to influence how I am thinking about my own femininity and role in modern society. Not of all the clothes are second hand, but the ones that don't carry special meaning to me or translate a certain idea in their style and prominence.
Why aren't you wearing shoes? I want to make it clear that I am not wearing outfits. These are pieces of clothing from my closet that I am wearing to show the range of female capability. But these outfits are not costumes either. I am not dressing up as someone else. I am dressing as me and expressing internal ideas, formed by preconceived notions of the people who wore the garment before me, or other people who would wear the same outfit in modern day.
How am I directing my expressions? My face is the vehicle to my mind. I have both very little control over my expression and total control. Fortunately for this work, my thoughts are conveyed directly onto the plains of my face, so I use this transfered emotion to control my expression. I use a lot of directed thinking and focused mental role playing to show the breadth of a female's response to her outer world. These emotions include strength,contemplation, suspicion, strain, deadpan, denial, control, and confidence. I am not focusing or negotiating physical beauty in either my face or my body. This will ether appear or not appear for the viewer depending on their personal preference.
In what size and format will you be presenting these self-portraits? I am printing on a very tactile matte paper that alludes to craft rather then advertising. Since my photos already hinge on their commercial implications, I felt necessary to stop this idea from seeping any further into the images. I've printed and presented the images in three sequenced groups of nine. The figures work better in relation to each other, communicating their individual message to the combined message of one feminine identity. They are the same person, all completely within her control and domain, but they express different sides of a complicated coin. She presents as feminine, domestic, proud, self confident, confrontational, masculine, balanced, sexual, flexible… all of these things become part of the whole. Part of a more complex identity. The size also alludes to the size of a small doll. I wanted to reference to be there, but not overt.
I'm sure their are more questions to come and I'm excited to receive further feedback and comments on my work thus far. Final Jpegs and installation shots to come.
Why the white background? It's a useful vacuum space... alludes to advertisement but it’s like the pre-shoot to test the model's ability to create a successful image. My postures would keep me from any traditional job.
Why not use a model? I didn't want to be telling people what to do or how to think. While standing in front of the camera I am interpreting a lot of things I've consume, clothing culture, political culture and familial culture and then sending those thoughts out through my face and body. It would be difficult and inorganic to put that pressure on someone else. And I'm a control freak.
Also, using myself alludes directly to the introverted gaze and subverts the male/audience gaze. Being the only person of judgement in the room allows for full freedom of expression.
How do I choose the clothes? I choose clothes from my existing wardrobe, comprise of mostly second-hand finds. MY personal taste draws my to old items with character and history. I frequently shop at goodwill and second hand stores in search of fashion inspiration. This same inspiration translates to the pictures. I am using these garments with a history or a story to influence how I am thinking about my own femininity and role in modern society. Not of all the clothes are second hand, but the ones that don't carry special meaning to me or translate a certain idea in their style and prominence.
Why aren't you wearing shoes? I want to make it clear that I am not wearing outfits. These are pieces of clothing from my closet that I am wearing to show the range of female capability. But these outfits are not costumes either. I am not dressing up as someone else. I am dressing as me and expressing internal ideas, formed by preconceived notions of the people who wore the garment before me, or other people who would wear the same outfit in modern day.
How am I directing my expressions? My face is the vehicle to my mind. I have both very little control over my expression and total control. Fortunately for this work, my thoughts are conveyed directly onto the plains of my face, so I use this transfered emotion to control my expression. I use a lot of directed thinking and focused mental role playing to show the breadth of a female's response to her outer world. These emotions include strength,contemplation, suspicion, strain, deadpan, denial, control, and confidence. I am not focusing or negotiating physical beauty in either my face or my body. This will ether appear or not appear for the viewer depending on their personal preference.
In what size and format will you be presenting these self-portraits? I am printing on a very tactile matte paper that alludes to craft rather then advertising. Since my photos already hinge on their commercial implications, I felt necessary to stop this idea from seeping any further into the images. I've printed and presented the images in three sequenced groups of nine. The figures work better in relation to each other, communicating their individual message to the combined message of one feminine identity. They are the same person, all completely within her control and domain, but they express different sides of a complicated coin. She presents as feminine, domestic, proud, self confident, confrontational, masculine, balanced, sexual, flexible… all of these things become part of the whole. Part of a more complex identity. The size also alludes to the size of a small doll. I wanted to reference to be there, but not overt.
I'm sure their are more questions to come and I'm excited to receive further feedback and comments on my work thus far. Final Jpegs and installation shots to come.
Monday, February 1, 2010
The clothes, the posture, the body: The naked self.
I began in the studio with a suitcase full of clothes, signifying pieces that stood out in my over-crowded wardrobe of goodwill finds and Target deals. I selected my rhinestone studded prom dress, a fifties housewife shift and a modern flower patterned dress whose shape suggesting an older era. I put the clothes on in front of the lights and a self timer and began to interpret. Alone in the studio, I let my whole mind and body be a part of the clothing. Who wears this garment? How does she wear this garment? What restrictions, both physically and socially, are placed on a woman wearing this piece of cloth. What can a piece of cloth do to a person? What can I do to this pliable material that simultaneously binds our bodies and frees our expression? I created images about women, for women.
John Berger writes "a woman's presence expresses her own attitude to herself, and defines what can and cannot be done to her. Her presence is manifest in her gestures, voice, opinions, expressions, clothes, chosen surrounds, taste –– indeed there is nothing she can do which does not contribute to her presence."
Throughout several subsequent photo shoots, I watched my body and mind react differently with each garment. Some outfits conjured action easier then others. Some outfits feel more natural to my everyday experiences and aspirations. But every pose, every personal glance, every moment of self confidence stems from within and then is placed on the exterior through the expression of my body. Does my self confidence change from the more revealing outfit to the more modest? Does my body language tell you that I am part of my experience? Do I look like I'm in control of my own representation?
In these pictures, I am both the object and the subject but for several reasons, I try to reject objectification. Yes, I realize that I will always appear as an object to some, but it is my intent that that impression does not start with me. I think it is important to note, that there is no mirror in the room. I am not checking my hair on a regular basis or re-applying make up. These aren't a part of my daily habits and I wasn't about to bring them into my artistic space.
Berger's text also talks about the difference between the naked woman and the nude woman in a historical art context. The naked woman is herself, with all her flaws. She would recognize herself in the positions she is portrayed in and her uniqueness would transfer to the audience through the image. In contrast, the nude woman is ideal. She is generalized for a mass audience. Her body is smoothed out and her gesture is without spontaneity, for surprise isn't as titillating for optimum arousal. The audience wants to be comfortable in seeing what they have seem many times before, not forced to contemplate a new patch of hair or an awkward lump.
For all intensive purposes, I appear metaphorically naked in these photographs. In some regard, I have no choice but to appear this way. I do not possess the ideal body or perfect skin, things needed in order to be generalized. But I take more control then that. Not wanting to rest on my looks, I quite frequently appear in unflattering, self assured and possibly confrontational positions. My face takes little interest in arousing the viewer, and at times has a more inquisitive nature. I am not nude. I am not generalized. And even if there is beauty in these photographs, I am not letting my image be controlled by a preconceived stereotype.
But no statement of selfhood can be distilled so easily. I have absorbed our culture. I am a part and product of how I grew up. I cannot escape wanting to feel good about myself. I can't deny the constant struggle I have with my body to conform to the generalized image. So with all the self confidence I can muster I say, "Although I am comfortable being me, their is a small part of myself that will never give up wanting to be 'her'."
John Berger writes "a woman's presence expresses her own attitude to herself, and defines what can and cannot be done to her. Her presence is manifest in her gestures, voice, opinions, expressions, clothes, chosen surrounds, taste –– indeed there is nothing she can do which does not contribute to her presence."
Throughout several subsequent photo shoots, I watched my body and mind react differently with each garment. Some outfits conjured action easier then others. Some outfits feel more natural to my everyday experiences and aspirations. But every pose, every personal glance, every moment of self confidence stems from within and then is placed on the exterior through the expression of my body. Does my self confidence change from the more revealing outfit to the more modest? Does my body language tell you that I am part of my experience? Do I look like I'm in control of my own representation?
In these pictures, I am both the object and the subject but for several reasons, I try to reject objectification. Yes, I realize that I will always appear as an object to some, but it is my intent that that impression does not start with me. I think it is important to note, that there is no mirror in the room. I am not checking my hair on a regular basis or re-applying make up. These aren't a part of my daily habits and I wasn't about to bring them into my artistic space.
Berger's text also talks about the difference between the naked woman and the nude woman in a historical art context. The naked woman is herself, with all her flaws. She would recognize herself in the positions she is portrayed in and her uniqueness would transfer to the audience through the image. In contrast, the nude woman is ideal. She is generalized for a mass audience. Her body is smoothed out and her gesture is without spontaneity, for surprise isn't as titillating for optimum arousal. The audience wants to be comfortable in seeing what they have seem many times before, not forced to contemplate a new patch of hair or an awkward lump.
For all intensive purposes, I appear metaphorically naked in these photographs. In some regard, I have no choice but to appear this way. I do not possess the ideal body or perfect skin, things needed in order to be generalized. But I take more control then that. Not wanting to rest on my looks, I quite frequently appear in unflattering, self assured and possibly confrontational positions. My face takes little interest in arousing the viewer, and at times has a more inquisitive nature. I am not nude. I am not generalized. And even if there is beauty in these photographs, I am not letting my image be controlled by a preconceived stereotype.
But no statement of selfhood can be distilled so easily. I have absorbed our culture. I am a part and product of how I grew up. I cannot escape wanting to feel good about myself. I can't deny the constant struggle I have with my body to conform to the generalized image. So with all the self confidence I can muster I say, "Although I am comfortable being me, their is a small part of myself that will never give up wanting to be 'her'."
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