Jardin Fleuris by Alexandra Sophie
Jardin fleuris is a series of photographs representing the different ages of a woman. The first picture ‘Virgin Soil’ represents virginity, the second ‘Mûres’ which means both “blackberries” and “mature” represents puberty and first periods and the third picture ‘Broken Eggs’ represents the loss of virginity.
stigmata - liz o’neill, 2013
a project examining the scars i have taken away from being raised catholic as a queer woman. self portraits in two parts, each representing a serious issue i currently struggle with that i can trace back to the insecurities and damages instilled in me by my religious upbringing.
the blue rabbit represents my current struggle with alcohol and misuse of it, while the yellow rabbit is a representation of my battle with self-harm (via puncture wounds).
this project was an exorcism of sorts for me, and while difficult to work on, it was a valuable and cleansing experience.
Mary Kelly, Post-Partum Document, 1972-79
There is so much to say about this. These are fragments of her child’s life that she documented (and there are many more). The first image is a Rosetta-stone like tablet which documents the child’s entrance into language. It shows her child’s first letters, her observations as a mother, and then other observations in a clinical, scientific language. The second photo is I suppose swaddling clothes for the baby when first born.
Anyways, one thing that can be said about this is that the audience never sees the mother nor the child, only fragments of the child’s life and fragments of the mother’s thoughts. It is using Brecht’s idea of distanciation that engages the viewer with the piece because the viewer has to piece together all the fragments to create an image. No images can be fetishsized like this.
On top of this, it is also a response to the clinicalization of women’s bodies. A response to how women’s bodies are regulated, especially when it comes to reproduction.
ARTIST OF THE WEEK: Kay Sage, 1898-1963
Le Passage (1956), In the Third Sleep (1944), I Saw Three Cities (1944)
Kay Sage was an American painter. She studied at the Corcoron Art School in Washington D. C., but also spent long periods of time travelling across Europe. In around 1923, whilst in Rome, Sage fell in love with and subsequently married a young Italian prince, Ranieri di San Faustino. They divorced in 1935, and Sage went on to meet her second husband, Surrealist artist Yves Tanguy, in Paris.
After Tanguy’s passed away in 1955, Sage painted very little. Le Passage was completed the year after Tanguy death, and shows the emotional and physical breakdown of Sage after the loss of her husband.
London-based photographer Juno Calypso mutates into a horrifying caricature of feminine angst and exhaustion in her series Joyce I & II. Frequently compared to the ground-breaking work of Cindy Sherman, Calypso stages herself in a series of bizarre images saturated with pastel boredom and suffocating kitsch. Whether buried behind a desk in a twisted sense of 1980s independence or drowning in a plethora of pink beauty products, Joyce is both unresponsive and blank, staring at us with deadpan desperation. It is the juxtaposition of swallowing scenery and quiet emptiness that makes the work so unsettling. Calypso hints that the expectations of female perfection and beauty is not a history removed, but an ever-present burden to each new generation of women struggling forward.
Doublefaced is an intriguing series by Berlin-based German artist Sebastian Bieniek that features portraits of a girl with the illusion of two faces.
By simply drawing on each side of his model’s head with common makeup products like eyeliner and lipstick, Bieniek transforms the young woman into a eerie set of twins. More after the jump:
BAYS MAN RAYS
My Rebuke to Man Ray’s bleedin’ sexism!
copyright Hannah Bays 2012
Photographer Giuseppe Lo Schiavo: Ad Vivum
I have imagined this photographic series as a journey with no space-time boundaries , a bridge that links the Flemish painters such as Vermeer , Jan van Eyck, Robert Campin and even Tiziano, Antonello da Messina with the digital photography; An amalgamation of the classical aesthetic with a modern medium. I wanted to create portraits without explicit time references, chronologically uncertain. Therefore I asked from the subjects of the photographs to imprison their emotion while at the same time to be mysterious. Subjects whose identity is revealed by peering at 3 emotion filters: the expression of the subject, the emotional reaction of the artist that addresses his vision and the reflection of the observer who tries to identify what part of the subject he wants to grasp. In those images, warm and cold colors coexist which are diffused and distributed through the subjects – in a similar manner as in the pictorial portraits – creating sculptures, motionless subjects, smooth and stiff like marble. The Latin name ‘ad vivum’ is taken from the engravings that some painters inserted under their paintings in order to specify that the painting was painted live.