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187
View In My Room
Photography, Color on Paper
Size: 23 W x 30 H x 0.1 D in
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1648 Views
187
Artist featured in a collection
This image is from a series called 'de architectura mulieres' (The Architecture of Women) wherein my subject and I celebrate the incredible structure, design, form, function and balance of the female form, that overall SOMETHING, not the intricate details but the design of the female body no matter the shape... the architecture. I chose to translate the title to Latin because I liked the idea of the old language, a language that formed the foundation of other languages. The purpose of this on-going series is to extoll the fundamental & extraordinary nature of the female body. We often find ourselves distracted by the small "imperfect" details-- a wrinkle, a blemish, cellulite-- that we fail to appreciate just how fantastic this body is. Look at the amazing feats we accomplish with this architecture! These beautiful bodies make people, battle diseases, run marathons, care for families, work challenging jobs, run households, create art and heal themselves. We sweat, we ache, we feel, we inspire. These images show the FORM of a woman, the female shape and structure without altering or "fixing" anything in post-production. To give each image a painterly appearance without the aid of textures in Photoshop, to let me get my hands messy and involved in the process of creating art, and to allow the woman being photographed to see herself as a whole, powerful, gorgeous being, and not the sum of perceived flaws, I smeared or sprayed different liquids, oils, lotions, waxes, etc. on mirrors and shot each image by pointing my lens at the reflection. The only post-production manipulation of the images in this series involved cropping around the mirrors, adjusting perspective if it was skewed (since I necessarily had to shoot from the side when I didn't want to be part of the image,) and a little light, color or contrast boost where it was needed. 46x35 | Edition of 5 39x30 | Edition of 7 30x23 | Edition of 10 24x18.5 | Edition of 25 All originals are printed full-size with a small white border on minimally textured Hahnemühle Baryta 315 archival paper. Sizes listed are rounded to nearest inch. Each piece will be signed and numbered on the back and shipped with a certificate of authenticity.
2018
Color on Paper
10
23 W x 30 H x 0.1 D in
Not Framed
Not applicable
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There is a space between the mundane and the mythical where I’d like my images to reside. Larry Sultan refers to it as “that ambiguity…between the ordinary and the surreal or the extraordinary.” Like Sultan, I prefer to find that in what already exists rather than to create a set or build it in Photoshop. There is plenty of magic in the everyday if one pays attention, and it doesn’t have to be bold and busy. It can be still and quiet, hinting at a narrative, as in the work of Joyce Tenneson, Cig Harvey, William Eggleston, and Vivian Maier. As much as, or probably more than other photographers, though, my influences are literary. The presence of grace or magic in the ordinary characters and situations of a Flannery O’Connor or John Updike story dabble in the realm of the absurd in a quotidian setting. Like so many enduring stories, with my work I attempt to investigate and better understand what it means to be human: a recognition of otherness as well as of self. I am still blown away that other people will commit so intently to helping me bring an idea to life. With my first series, Beautiful Madness, I buried friends in crumpled paper, covered them in writing and paint, wrapped them in yarn and burned their fingertips with matches in an effort to depict the obsession and frustration that can consume a creative person who is unable to create. For my part, I spent two days staining and crumpling paper until my hands were cut and bleeding. I wrapped an entire piano (and my husband) with yarn, pulled up the carpet in my room and wallpapered two walls just to peel it all off and leave it in strips on the floor. When I begin considering a new project, I think about what I want to know about the subject, how I might translate that visually, and what new perspective I could offer. What can I do in the physical realm to prevent having to do it in post-processing? This part of the process takes a long time, sometimes months or a year of meditation and contemplation for me to make the first picture. Often, I have to force myself to schedule the first shoot before I feel ready—decide that I’ve got a strong enough foundation from which to leap. With the Architecture of Women series, the leap was a self-portrait in my bedroom. I liked the suggestion of intimacy, while the smudged mirror and unrecognizable face allowed for distance. For the project, I asked women I knew (no models,) and I sat beside them rather than stand in front of them with the camera.
Artist featured by Saatchi Art in a collection
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