Date:3/8/15
After looking at Liz stetekee's 'sewn', I liked the idea of hiding yourself or taking yourself out of the photo. The reason for this, for me comes from an early age of really feeling like i never fitted in at school, Though I had friends I always felt like I was the odd one out.
With this image I thought id digitally manipulate the image instead of physically, so I have added a square with a fuzzy texture to cover myself within the image, I have lowered the opacity on the texture fill so the outline of my face would still could be made out within the image
Date: 24/7/15
Liz Stetekee
Photographers synopsis of work:
For over a decade, Sewn has taken
shape from altered, chopped, merged, and recomposed photographs. Excerpted from
three separate series within the overall concept, this selection touches on
highlights from "Missing," "Picture Day," and
"Remember."
By engaging with the photography in this
way, I create work that deals with the notions of truth in photography and its
impact on identity. Using family photographs and those from my family's past
albums as material for the work, the resulting imagery tells a "new
truth" with reimagined memories, situations, and experiences.
Sewn expands this notion by
incorporating mixed media elements to expand the work to a new realm, to create
objects that come off the wall and have their own experiences. I cut out,
obliterate, and cover up elements of an image to draw attention to what is
missing, what may have changed, or what needs to be considered. Pieces are sewn
together and dyed to congeal the elements and ideas together. Thread binds the
content. Dye binds the colours. Past and present collide.
Memories are coloured by the past, guided by
the images burned in our brains. True feelings emerge and break through the
expected parameters of vernacular imagery. The pieces in this work are
purposefully raw and unrefined, recalling the impulsive and rough nature of
childhood. This process is intended to jar the viewer and call into question
our history through memory and as photographic document.
—Liz Stetekee
Date 17/7/15
100 Self portraits
Luca Pierro
Photographers synopsis of work: The people who see my work think they are
photoshopped. Actually, they are not except for tone and contrast. I try to reach the effects, textures and lights with the least amount of
manipulation as possible so I use a lot of materials like flour, milk, water
and other. For the lighting, I usually use a single flash with an umbrella
reflector. My intention was to express a micro and macro cosmos where the figure of the
artist can forcefully enter onto the scene. My figure represents a man, "the man," involved with materials. All
the elements that can lead back to "Mother Earth." In this way, the
body becomes the vehicle of expression. The traceability of the material used
on the body surface is important for me. Equally important are the light and
dark. The contrast between these two elements evokes the struggle between life and
death.
Fabulens:
Limitless Mobile Portraits
Helen
Breznik
Photographers synopsis of work:
Breznik’s photography leans towards the
melancholy and in many ways perfectism is the defining aspect of this and one
that fits her art so well. Melancholy, unlike similar emotions could also be
defined as ‘sorrow with a purpose’. She is emotional, sensitive and has poetry
in her soul, she utilizes this with the romantic beauty displayed within her
images, and she directs the melancholy and feeds its void with purpose.
Aesthically, Breznik’s photography changes
with her mood, “at times I create characters in elaborate costumes that are
stoic and reserved but then I may do a series of figures which are full of
movement and show great emotion”, she explains. She has always felt comfortable
in front of the camera, with music playing, wearing fabulous vintage clothes,
she transports herself to another world, one where her alter-egos can fully
emerge. Sometimes, a character such as a Queen will emerge, serene, royal,
strong but with vulnerability. Breznik is particularly drawn to imagery from
the Pre-Raphaelites period, portraying underlying tragedy mixed with great
passion and beauty.
She keeps make-up to a minimum, perhaps
just a light touch of lipstick, preferring to make use of sculpting natural light
to add real shadows, creating natural depth and definition.
With a background in graphic design,
Breznik took up photography 10 years ago. Picking up a bunch of old Polaroid
cameras she became intrigued and motivated to experiment with different films.
She loved working with TimeZero film, it gave her the opportunity to manipulate
the images and add new layers to her creativity. When she heard about the Apple
iPhone and apps that simulated Polaroid photography, she felt compelled to try
them out. This, then opened her world to the multitude of other innovative apps
available and allowed her to be imaginative in a completely new and dynamic
way. From 2010 Breznik started using the iPhone exclusively. Her background in
fashion illustration complementing her photographic skills, giving her the
experience to capture dramatic poses and create drama within her images.
In 2012 Breznik was invited to show her
work at the Latitudes Photography Festival at the Museum of Huelva in Spain.
Her work has also been exhibited both nationally and internationally at venues
including ArtHaus in San Francisco, the San Francisco Fine Art Fair, the Soho
Gallery for Digital Art in New York, The Museo di Milano in Italy and the Mira
Forum in Portugal.
Breznik concludes, “In the end it doesn’t
matter what you shoot with... it’s the image that matters.”
Date 3/7/15
Lyndon Wade.
Lyndon Wade’s Vibrant compositions often depict subjects in a kind of suspended animation; their halted motion suggests a larger narrative in the space of a single incident.
Memory's How?
Was taken transferred to a photo, it was expressed the memory that fades in mind as it is of clarity and ambiguity of the moment.
blues without blue
Or color are attached to the dream? Date 26/6/15
Another November
ANOTHER NOVEMBER (2013-2014)
Following the ending of a significant
relationship in my life, an undoing began. Whilst adjusting to being a single
woman, I started to create a photographic narrative based on the experience of
losing love; directing other women to portray the gradual emotional and
circumstantial stages, along the well-trodden track of the broken-hearted.
By constructing images of the evolving
chapters, I was allowed a vantage point from which to view the changes
occurring in me, from feelings of pain, confusion and loneliness towards the
reconstruction of my identity as an individual.
The series of staged performances by
different women, of whom are friends or those I had been drawn to from the
street, are enacted to show an intimate moment of adjustment. They are seen
isolated, surrounded by textures, colour and empty spaces in a room of their
home in Paris.
Another
November is situated in a deliberately nostalgic present where memories are
constructed and irrevocably discolour, looking back to a past not yet
acquainted with loss. Yet, it is a reminder that time, the arranger of all
things, moves only in one direction.
Date:12/6/15
The Big Question
"Why do you want to be an image maker, given that everything has been done before and everyone is a photographer?"
This question was given to me as part of my summer project brief, I have been think about this for awhile now along with questions like, who am I as a person? where do I fit in? and to answer these question I had to answer the one above.
I find photography to be my escape from reality, to give me something to focus on thats in my control, to use photography as a way of talking about the things that trouble me, my feelings, my confusions. I am a image maker because I want my work to help others escape from their realities to give them something to think about and learn from. Something that they can relate too.
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