Jean Faucheur is a French artist best known for his street murals but I have been looking into his photography. He takes photographic portraits which he then cuts geometric shapes into and rearranges to create an abstract composition, reminiscent of Cubism. I particularly like the images where he has cut ever increasing circles and twisted the slightly to produce a ‘spun’ effect. With others thin strips have been cut and rearranged in a woven pattern. This composition reminds me of David Hockney’s joiners.
I will attempt to create a similar distortion effect on my studio portraits, using Photoshop.
Douglas Gordon is a Scottish artist who has won The Turner Prize and represented Britain at the Venice Biennale. He is well known for his video and installation works, including a projection of Alfred Hitchcock’s “Psycho” slowed down to last an entire day.
I was interested in his “Blind” portrait series which features black & white photographs of Hollywood stars from the 50’s and 60’s with their eyes removed. These blank holes, coupled with their easy smiles and glamorous dress, creates an unsettling, sinister effect. When talking about using famous imagery in his work Gordon said:
“I try to take something familiar and look at it again, and again, and again, reexamining and re-presenting it … looking at something familiar can act as a metaphor for all sorts of other things in your life.”
I will take influence from this de-constructivist approach in my photo-montages.
Lynn Hershman Leeson is an American artist whose work spans almost every medium and the past five decades. She has received international acclaim for her work on topical issues such as human interaction with machines, body politics, identity, feminism and government surveillance. As her portfolio is so diverse I will definitely be investigating further into her work in future. In relation to my Binary project I was interested in her “Found Objects: Olympia” series. These installations feature highly detailed mannequin style figures of nude women with classical nude paintings projected over them.
This work sparks questions about female body politics, how, or indeed if, our attitudes to female nudity have changed as well as modern ideals about the ‘perfect’ body.
I find this work interesting in relation to my own as neither of the women in it are real. They are both false, representations or imaginings of a ‘real’ woman. This relates to my exploration of gender and whether gender identity is based on biology or personal choice. This literal layering of images relates to my idea for layering of photos to represent the psychological and emotional layers of gender and identity.
Vanessa Omoregie is a young British artist and member of all female art collective Bunny Collective. Her series Cam Girls juxtaposes classical paintings of female nudes with modern webcam images of naked girls recreating the poses. The interactive work called for submissions of selfies from women. Omeregie describes the work as “Opening up discussions about the ‘online girl’ as a muse and subject and how the cyber lens shapes her image.” Many of her projects explore the relationship between young girls, cameras, computers and cyber-space. It sparks interesting considerations of the difference between art and selfie portraits, online interactions, voyeurism and privacy, and the role of the female nude.
This approach of mimicking existing artwork could be an interesting compositional approach to consider when creating my own photo-montage.