Who is she?

Yayoi Kusama is a Japanese contemporary artist who works primarily in sculpture and installation, and she is also active in painting, performance, video art, fashion, poetry, fiction, and other arts.

Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, art brut, pop art and abstract expressionism and is infused with autobiographical, psychological and sexual content. She has been acknowledged as one of the most important living artists to come out of Japan, the world’s top-selling female artist, and the world’s most successful living artist. She was inspired by American Abstract Impressionism.

Embracing the rise of the hippie counter culture of the late 1960’s she came to public attention when she organized a series of happenings in which naked participants were painted with brightly coloured polka dots She experienced a period in the 1970s during which her work was largely forgotten, but a revival of interest in the 1980s brought her art back into public view. Kusama has continued to create art in various museums around the world, from the 1950s through the 2020s.

Kusama has been open about her mental health and has resided since the 1970s in a mental health facility. She says that art has become her way to express her mental problems.

“I fight pain, anxiety, and fear every day, and the only method I have found that relieved my illness is to keep creating art”

When Kusama was ten years old, she began to experience vivid hallucinations which she has described as “flashes of light, auras, or dense fields of dots”. These hallucinations included flowers that spoke to Kusama, and patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her, a process which she has carried into her artistic career and which she calls “self-obliteration”. Kusama’s art became her escape from her family and her own mind when she began to have hallucinations. She was reportedly fascinated by the smooth white stones covering the bed of the river near her family home, which she cites as another of the seminal influences behind her lasting fixation on dots. Her artwork is often linked to these experiences, reflecting on her own inspirations.

“I followed the thread of art and somehow discovered a path that would allow me to live.”

Moodboard:

Why I chose Yayoi Kusama

Yayoi Kusama is a renowned Japanese artist whose work has had an influence on feminism and fashion, through her contributions are often indirect or conceptual. Kusama’s art intersects with feminism through her exportation of the body, identity especially and gender, while her influence within fashion can express her visual language, specifically her iconic and memorizing polka dots, embodying self expression, rebellion against norms and empowerment. Kusuma’s fashion and art not only challenges conventional and typical beauty standards but also highlighting women within culture and art.

One thing that stood out it me, to keep my project linking ever so slightly to feminism, meanwhile having a variety is her theme reflecting on rebellion against norms. She does this through her unique expressions through the abstract and colourful clothing choices and back drops of her images such as, this image below.

Her work links to her mental health and psychological issues, expressing identity and differences within individuals. Her public struggles, link to Nan Goldin’s linking to my previous study. I find this evident through her psychedelic perspective shown through her fashion expression. Feminist critics often read this as a critique of how women are treated in a world that silences their voices and suppresses their emotional realities. Her race and ethnic unique style contributes to her art within culture.

Kusama has explored sexuality and the body in her work, often using her body as the expression, challenging the norm of objectification and de-humanizing within women surrounding sexual identity. Her ‘accumulation’ series where everything surrounding her and her body in polka dots can be seen as self- expression that challenges societal norms about women’s bodies and the expectations they face in society. My most previous project and essay, argued that expectations and social norms can be seen to be made by men as we live in a patriarchal society, however there is also the belief that stereotypes and social standards are a social norm and are inevitable. Therefore, this links to my previous project surrounding stereotypes, but from a different perspective with different and unique contributes.

Kusama’s fashion influence is often seen to be very bold and confident. She does this through her polka dots and vibrant colours making it difficult for viewers to not be interested. The polka dot eventually became Kusama’s signature symbol of femininity. It has become symbolic for breaking free from conventional and idealised expectations in society. This therefore influences empowering women through visual identity, Kusama’s approach to fashion and art reinforced the perspective that women should not only embrace their bodies but also express themselves bodily through fashion.

This ultimately lead to collaborations with fashion brands such as Kusama’s partnership with Louis Vuitton in 2012 making a wider audience for her art and fashion. Her iconic and unique yet memorizing symbols lead to wearable accessories partnering with Louis Vuitton creating a fusion of art, fashion and feminism.

Image Analysis

Firstly, the most eye catching element that draws my attention is the polka dots, however in a very different format and pattern. Her clothing matches to the back drop through colour, but contrasts through different layout and pattern within the small circles. She does this as she is emphasizing infinite patterns and the concept of infinity. Kusuma is famously obsessed with the element of infinity, which she symbolizes frequently. By blending her own attire with the backdrop, she is expressing her potential psychological states. Kusuma also plays with ideas of identity and gender through this technique. This form could be seen as a self-erasure, where she isn’t making herself and individuality. Instead, she becomes the physical environment challenging the idea of a fixed identity. The clothing looks like a type of animal skin potentially snake. Her unique style, patterns and vibrant colours is definitely eye catching. Most importantly, Kusuma uses her self, as a subject in her art, to explore the themes of femininity, identity and obsession. Her use of her own body as her art, serves as both a personal and universal expression of her own life and experience, especially her struggles of mental health, particularly her struggles with OCD and hallucinations. By using her own body as a canvas, she creates a direct and intimate collaboration between herself and the world. The covering her body, through patterns, symbolizes her desire to erase the boundaries and expectations between herself, and society. The bold, repetitive patterns are not just a form of self expression but a way of merging her persona with her art. This expresses as a way to reinforce her identity in a larger cultural context and make her own personal narrative and experience her own creative expression. This image, is taken from a dead pan angle and style. Her expressions are very neutral, and does not obtain a dramatic perspective or excessive visual flair. This is because the subject, appears impassive, unaffected and looking direct at the camera. The lighting is more soft, to allow the colours to be much more vibrant, as the colours are very significant in these type of images as it is her type of expression in her images to signify her traditional culture.

Historical Context

Kusuma’s own life and career challenge traditional gender roles. She moved to New York in the 1950’s, a time when the art world was dominated by male figures such as Jackson Pollock and Andy Warhol. She faced an element of sexism, but Kusuma’s refusal to conform to expectations made her an emblematic figure for women fighting for their place in the art world. Her boldness, resilience and unique aspect were later recognised as a feminist struggle for equality in the art world.

Her art blends with traditional Japanese aesthetics with contemporary practices, often reflects on japan’s complex history. Kusuma’s work, particularly her early work, emerged in the post-war period. This era in Joan had an influence on Western culture and a shift in social and cultural values. This links to her photo shoots obtaining nudity in the 1960’s. She used nudity to explore and challenge societal norms. She often used her own body as a medium such as “ Naked obsession” or “Body Festivals” which both included her use of expression through polka dots to cover the themes of sexuality and identity. The nudity was meant to break down the barriers between the artist and the audience and to challenge controversial modesty, sexuality and the female body. This was seen as highly controversial especially in the 1960’s in the main stream Western culture. The period was marked by shifting social attitudes towards sexuality, specifically during the sexual revolution. Kusuma’s work was seen as provocative and radical, as it went against the traditional expectations and stereotypes for how women should portray themselves in art.

The influence on Japanese traditions such as Kusama’s use of patterns, particularly her iconic and signature polka dots, connects to historical elements such as the kimono design in textiles. This link reflects her heritage and identity.

Psychological and social reflections in Kusuma’s work especially her use of infinity nets, installations and polka dots, reference themes of isolation, infinity and psychological states. This can link to her mental health issues such as OCD and hallucinations or even trauma, potentially post- war anxieties and the ever- changing field of fashion.

Overall why I decided to study Kusama and linking to union

Overall, I decided to study Kusama as she focuses on how it feels to be a woman and identity. But most importantly, rebels against the societal norms shown through her use of nudity in the 1960’s. This links to union as women as a whole within a political sense fought and rebelled through these standards and expectations to become something. This links slightly to my previous project however I focused on stereotypes. Kusama inspires me to make my project on union focusing on how women rebel through fashion specifically. Kusama clearly did this through symbols and her own experiences leading to empowerment. Fashion is stereotypically seem as more feminine as women tend to enjoy it more. Therefore, I aim to make a photo shoot linking to Kusama by making my own symbols aswell as fashion that ultimately signifies rebellion and identity and power roles within social norms within women through boldness and resilience. Kusuma deeply engages with her exploration on a personal and conceptual level. By using her body in her art, often without the conventional constraints of gender or modesty, Kusuma asserts her autonomy with her artistic practices. Ultimately challenging sexual expression. She also links to union through her heritage such as her Japanese Western traditions. She shows this through her modernist styles such as abstract expressionism and minimalism. Contributing to her Japanese culture. Kusuma presented herself as vulnerable, powerful and bold. The use of nudity became a tool for Kusuma to explore why and how female bodies were often objectified and over- sexualised.

For my Photography project I want to go down the path of romanticism as it is an art movement which united people in the late eighteenth century and still has an influence to this day when it comes to the arts and nature enthusiasts. A massive focus on romanticism is nature which is what I want to explore and develop as I don’t feel like I spend enough time in nature and it is beautiful, hence why the romanticists loved it. I want to try and capture this beauty by taking nature/natural landscape photos as natural landscapes were a common part of romanticism as they captured a lot of natural beauty as well as including some elements of the sublime. In the 1800s this was commonly done in paintings, but modern-day romanticists now also use photography to capture this.

To develop this project, I would like to go to the countryside and areas with nature and nice views as these would be great for taking natural landscapes. I would also like to capture a lot of my photos during the golden hour period of the day as during this time the light is all golden as the sun is setting which looks incredibly beautiful and helps give the photo that breath taking aspect that landscape photos have. Both the Photographers I have chosen to look at are landscape photographers with a strong appreciation for nature which I will go over in the case studies for them. One of the artists I have chosen to look at is Joe Cornish especially his work in his book ‘First Light’ which includes lots of stunning landscape photos as well as photos of nature such as rocks and the woods, Joe Cornish also takes some of his photos during the golden hour and when the sun is setting which is exactly what I want to do with some of my photos. The second artist is Jem Southam who also takes beautiful landscape and nature photos which are interesting to look at especially from his collection ‘red river’.

One Photoshoot I’m planning to start my project is around St. Martins near the woods as it is on the top of the hill, so you get lots of great views of the seascapes and landscapes as it is in the country there are also lots of trees and fields around which I could take great photos of. I also would like to present my photos in a book is it would be nice memorabilia of the beautiful landscapes in Jersey.

Alexander Mourant is an artist, educator and writer based in London, and born in Jersey. The work of Alexander Mourant embraces autobiography, literature and reference-based thinking, to create narratives that question the relationship between the body and the photographic medium. Mourant proposes how images may deal with temporality, spatiality and reflexivity, through new ways of thinking, and alludes to the photographic becoming a terrain itself, and a place we traverse.

Aomori

“It is peculiar how forests have such an affect on us,” observes Jersey-born photographer Alexander Mourant of his latest project Aomori, which was shot in Japan’s ancestral forests. “As temporal dimensions crumble, objectivity leaves us. We are found in a still, oneiric state, contemplating our own accumulation of experience.” (link)

These Images where taken in Japan as the name suggests, as Aomori meaning ‘blue forest’ in Japanese. The link between these two words creates Ideas on forests, as well as the nature of blue. “Together they create a place of high intensity, a place which questions our relationship to time, colour and self.”

The process to take these images was to use a church’s stained glass window, which was cut to make a lens filter. This adds spiritual history through the creation process, which also adds to the rich culture of Japan. “Susan Bright commented on the religious symbolism of my work, saying: ‘the spiritual history of the process seeps through into the image, to a time when the land was a place of worship,’”

His main inspiration for these blue monochrome Images was Yves Klein, and particularly his studies in the colour blue. Yves Klein used blue as it representing his spirituality and religious upbringing, the essence of natural elements like water and sky, and the vast expanse of the universe.

Above is one image from his from his work ‘Aomori’. From a first glace, you can see a heavily dense and humid forest, with the tropical flora coving the whole image. Closer to the top of the image, the bright mid-day sun is breaking it way though the plants, and reflecting off moist plants far into the depths of this forest. This creates an very atmospheric image, and draws the viewer into this magical world.

Blue in art is often used to create peace and tranquillity, and its defiantly shown in this image. The blue colour and the white highlights shining off the plants make this image feel like a old and enjoyable memory of a peaceful time. These Images engulf the viewer into a a mysterious voyage where both sorrow and beauty are tied together. These photos feel ancient, peaceful and respectful, party due to the strong blue that exposes itself to the viewer, as well as how these forests from Japan have taken centuries to form.

The lightness

This work gravitates more towards green instead of the blue from the previous project by Mourant. There was no reason for this, but as Mourant stated, ‘I think this leads into a more intuitive way of making photographs’ and ‘the photographs emerged in a way that most suits them’. To take these Images there was a lot less planning as ‘spontaneous’ process was favoured, looking for the nature of weightlessness in photographs. His main inspiration was from a book called the Unbearable Lightness of Being by Milan Kundera. These pictures where taken in various parks around London.

Photoshoot Plan

What?- I will photograph Raoul, the farmer, working on a field. This includes the tractor, the equipment, Raoul himself and other small details for the project. Having researched the impressionist movement I want to try some slow shutter speed movement photos as I think this will create interesting, bold photos that I can use to carry colours through the rest of the project.

How?- Using a canon mark 5iv and a 70-200mm lens I will compose photos based around, the lighting, the intent and natural moments. To create slow shutter speed photos when I reduce the shutter speed I will use a lens cover to reduce the harsh shadows and the potential over exposure common in slow shutter speed photos.

Why?- This is a strong starting point for the project, referencing how I saw Raoul when I was growing up, what he does and how he does it. It is a summary shoot, covering an introduction to the farmer and his lifestyle. It provides a link between the farmer and the land, demonstrating the UNION of the two in a way even people who don’t know much about farming, can see the true passion and hours it takes to create a union between land and man.

Contact sheets

I took a variety of photos, showing the details and the bigger picture. The lighting was harsh so I used settings that compensated for this, while keeping in mind the yellow of the flowers. I also used a range of techniques from different orientation to slow shutter speed motion blur.

Edit One

This photo, while not being directly linked to farming or Raoul helps add to the spring farming idea, the dog in the photo is ‘posing’ with his toy with a tractor and 4×4 in the background. Dogs and cats tend to keep themselves entertained on farms and yards, this photo shows that. I chose the black and white as it complemented the photo, although I did keep a colour version in case it will fit better in the book as it still a nice photo in colour, having the leading line of the curve.

Edit Two

I loved this shot with the tractor in the background and the tree/post framing the shot. The photo is an portrait that shows the subject walking and moving the marker. Making for a dynamic, informative photo. I liked this image in colour but the tree is less noticeable as I couldn’t crop the image down without removing the central lock on the subject.

Edit Three

This is a busy photo, I framed it with all the background as I wanted to show the many elements of the environment, I did however remove the one post as it looked odd sticking up from the closer focal length posts. I then used the sliders to lower the exposure, adding depth back into the photo and enhancing the green grass and yellow flowers.

Edit Four

This is a simpler photo, just showing the field being fertilised, I like that you can see the fertiliser, and that the tractor is almost perfectly between two posts framing the subject. The house in the background helps add context and build a story as it is made of classic Jersey Granite surrounded by fields and hedge rows. This is a good base image for the story.

Edit Five

Having taken this shot through a fence I have the fencing lines in the photo, this adds to the photo, leaving the viewer a deeper understanding of what it feels like to be witnessing the farming around them. This was a simple edit, bringing the colour in the shot back to life using the sliders.

Edit Six

Inspired by my research into art movements I wanted to try some slower shutter speed photos to add to the story. I created this photo, I think it gives the never ending feeling of farming which is what I wanted, to show that farming is always going to be important. I like how the flowers make a sea of yellow/gold and then the darker colour of the tractor contrast it. Even the fencing wire adds movement to further the never ending feeling. Editing wise all I needed to do was reduce the over exposure by moving the exposure slider down as when using a slower shutter speed the photos will appear over exposed.

Edit Seven

A simple detail shot to tie photos together is what I needed in this part of the shoot, I had a few photos with this bag/marker in so I wanted a shot of the markers to highlight them. The bags had patterns and flowers on and I wanted to compose the image to show more than one, showing how they were being used as markers. It only needed slight adjustments to correct the colour.

Edit Eight

This is a longer range shot, using the building and fence post to frame it. I noticed I hadn’t got many straight on shots so I wanted one as it will help the book flow if I put the dog photo and the portrait in. It also emphasises the tractors shape with the roll bar being portrait.

Final Photos

Overall I have a good selection of images, focused around the work being done to the fields to maintain them. This is a core part of my project showing the machines being used and Raoul working. Having a mixture of black and white and colour images allows for a variation in tones, textures and compositions. There is different techniques used in each shot, from how I’ve framed them to how I have picked which moment to photograph. I am lacking finer detail shots, however I plan to get these in the next photoshoot. Having researched ‘FOR EVERY MINUTE YOU ARE ANGRY YOU LOSE SIXTY SECONDS OF HAPPINESS’ I wanted a mixture of shots, some composed, some natural, using the environment like I have with the low angles using the daffodils to enhance each photo. Inspired by the impressionist movement, I used a slow shutter speed on some of these images, creating bright colourful slightly abstract photos. Forcing the viewer to focus on the photos and what is hiding behind the blur, also creating the circular farming feel. Continuing onwards no matter what, it also provides a nice base of colour I can them link through out the rest of my book.

Mood-board / ideas:

 

• A girl in her room
• A friend
• What she gets up to
• behind the scenes
• what you do when your 18
• unfiltered
• untitled
• cinematic
• personal
• up close
• confronting
• revealing
• expressive
• dramatic

Above I have listed key words and phrases that I am going to explore throughout this photo shoot. Capturing a girl in her personal space, environment which reveals her inner world behind closed doors, creating this sense of new reality perhaps showing us a new world that we’re unfamiliar with, and is different compared to ours. I want to express union through how her world could be different compared to someone else like the viewer, this idea of getting up and close, confronting us showing us this new reality, shows us how people are united together expressing to us through new world and realities. I am going to capture her in unfiltered moments, expressing scenes that perhaps could be relatable or engaging to us as the viewer which leads us into her inner world. I am going to follow the phrase getting up close and personal, showing raw, emotional scenes which ultimately create unfiltered, confronting expressions.

Lighting:

I am going to capture photographs as the sun is setting so there is this natural light that is creating shadows, new formations of reflections which we typically wouldn’t notice. I want this to exaggerate and highlight new forms, as well as the subject, highlighting angles and tones. I am going to be capturing the photo from the same direction as the natural light that is shining into her bedroom which will express this cinematic, unfiltered feature.

Composition:

I am going to capture different poses, firstly focusing on environmental portraits. Capturing a series of portraits like this will express the subjects inner world and show us her reality forming unity. Then following David Hockney’s joiners technique I am going to create the same composition.

• fashion – contrasting colours that stand out and are clearly expressed within the photograph
• record players / records, albums
• dressing up
• books/magazines
• facial expressions / poses
• trying shoes/heels on
• music

This photo-shoot is going to be staged but unfiltered, showing you the true reality, behind the scenes of a girl in her bedroom getting ready, makeup, hobbies.

Ernst Ludwig Kirchner – Inspiration:

These images above express reality, confronting views that are from behind the scenes within the subjects life, as we are shown through raw emotions and feelings. From portraits alone with a pose, or facial expression to the subject lying on a chair within their house with drink bottles near by, which expresses this engaging reality that closely relates to the subject we initially are drawn to in the subject. Although these are paintings I want to express the same effect but in a photograph. I going to do this by capturing unfiltered yet staged moments, choosing what they wear – from colours, outfits, and makeup, which will show the clear defining, definition of contrasting colour, that expressionist painters use within their loose brushstrokes. So expressionism has influenced me to capture people in unfiltered moments, with clear oulines and contrast, using bold colours and poses. I want it to be dramatic, expressing emotion.

These next photos show the next steps I want to focus on in a following photo shoot – which will show a series of images at different point within her (the subjects) life. So going out of her house to the world around her and how she fits within in. This expresses union as we see how she fits in with people alongside her, through what she wears, emotionally, through expressions and poses.

Man Ray (1890–1976) was an American artist known for his experimental photography and role in the Surrealist movement. Even though he was initially trained as a painter, he became most famous for his experimental photography. His “rayographs” (an approach to photography and often called photograms) and dreamlike images pushed artistic boundaries, influencing Surrealist photography. In 1921 Man Ray moved to Paris which is where his artistic career started, as he became associated with the Parisian Dada and Surrealist circles of artists and writers. He experimented with many different mediums including films, Photography, painting, sculptures and even fashion.

To take his surrealist photographs, he would be required to think completely automatically, so the photographs are unconscious and imaginary to the purest form. Surrealism manifested itself in a juxtaposition of words that was startling because it was determined not by logical but by psychological.

rayographs

“I have finally freed myself from the sticky medium of paint, and am working directly with light itself.”

To make his rayograph, he placed objects, materials, and sometimes parts of his own or a model’s body onto a sheet of photosensitized paper and exposed them to light, creating negative images. He embraced the possibilities for irrational combinations and random arrangements of objects, emphasizing the abstraction of images made in this way. Below is an example where the image is centred around a comb:

In this image, There are only shades black and white due to the technique used. The Image is a negative as the objects acted as a shadow for the light sensitive paper. There is only one clear Item that can be identified, which is the comb in the centre. The arrangements of objects around the comb keeps it the centre of focus and makes the viewer wonder about the importance of this object. We can also see many lines thought the image, which keeps the overall composition even and pleasant to look at. The confusion that this image creates through its use of objects that cant be interpreted reminds the viewer of dreams that they may have had, where some parts are clear but once the whole dream is put together its complete nonsense.

The way this image has been produced emphasizes the influence of the light and shadow instead of the importance of the picture itself. Looking at this article helps understand why he took these images.

Glass Tears, 1932

This photo was taken in Paris and is one of Ray Man’s strongest photos, and was often composed with other photos. Here you can see a cropped image of a woman’s face, with unusually large tears, as well as the models eyes, with her mascara-coated lashes looking off to the distance. This makes the viewer wonder what she was looking at. The eyebrows are tilted down which suggests she is in a sad emotional state, giving questions on why she is feeling distressed. The lighting is highly exposed, using studio lighting which was likely done to expose the truths about this model.

It terns out that this is not a real woman but a fashion mannequin with glass bead tears on the cheeks. This was likely done as Ray Man recently broke up with his lover and wanted to have revenge on her. The large, glistening teardrops are melodramatic, an exaggerated sign of sadness that makes a mockery of the sentiment. It may also be because Man Ray is exploring his interest in the real and unreal by challenging the meaning of still-life photography, which links to the surrealist art movement. The eyes being the main focal point of this image is common theme used by surrealist artists as it is an important symbol of inner vision, a concept central to their philosophy.

Other Images I like

Statement of Intent

For my exam project, I would like to explore Cubism. My main inspiration for this project is Stephen McNally. These are some images by him:

I am particularly interested by his work as I admire how he uses different camera and editing techniques. I would like to do this myself by using a range of shutter speeds and exposures. Some locations I am planning on going to are various places in St Helier, St Aubin and in St Brelade. I will also be going to London during this time so I would like to take some images there. When forming my final outcomes, I will firstly do this in photoshop as it will allow me to play around with different layouts and designs and then I would like to recreate them by hand. I will do this by printing and cutting out each of the segments I will be using and stick them together on to some card.

Cubism relates to the theme of Union as it is an Art Movement which has brought together many photographers over the years. Photographers who have explored cubism each share common styles and interests. Being part of this art movement creates a sense of belonging and proposes a collective influence in art and photography. Cubism also relates to the theme of Union as each fragment of the image join together to form the subject as a whole.

I am interested in exploring Cubism as I really enjoy taking landscape photos and think that it will be amusing to form my own joiners. I also think it would be a good opportunity for me to be able to experiment with different techniques and ideas.

Liminal (Space)

Liminality is a quality of being in between two places or stages/on the verge of transitioning to something new.

I plan to use this inspiration by using liminal space as the union/connection point of where dreams and reality connect.

Liminal spaces look and feel real yet there is some dream-like and uncanny quality to them.

Found Footage

Found Footage is a cinematic technique and film genre, all the work is presented as if it were film or video recordings recorded by characters in the story which are then later “found” and presented to an audience.

I plan to use this technique to create some sort of narrative that interprets what someone may see during this union of dreams and reality/the unconscious mind. I also want to use it to make my images more intimate for my viewers as if they are actually watching someone go through these experiences.

I experimented with layering of photographs on photoshop as I liked the multiple layered effect of having lots of faces overlapping one another, each coming in from different angles. I liked the connection that was created from this, even though they are duplicated versions, because it shows hoe the subject is brought back together and unified.

This was my final outcome, I duplicated the subject multiple times and then rearranged them, and adjusted them so that they formed a connection in the way that they are brought together.

For these edits I experimented with layering images together, however I used the same image but reversed them the blended them together so that they fitted together. I liked the mirrored effect as it creates this interesting effect as subject is reflected in the opposite way.

“I was inventing a Language for people to see…” – Francesca Woodman

Francesca Woodman was an American photographer well known for her B&W photographs which often featured herself or female models. Throughout her life she had practiced techniques such as long exposure to try and capture movement, blur and occasionally full disappearance. She took inspiration from surrealism and fashion which can be seen throughout her images featuring clothing.

Woodman was interested in what photography as a medium does with time, it disrupts the linear flow between the past, present, and future. As a female artist, these interests made her work unusual for its time, since Feminist artists of that time were boldly affirming individual presence, Woodman privileged trace, absence, and reflection.

To create her photographs Woodman used long shutter speeds and double exposures, this allowed her to create her ghost like and ethereal images, by doing this she was also able to capture different stages of movement and a pattern of time.

“Real things don’t frighten me just the ones in my mind do.”

Analysis of Work

Technical –

Unlike some other pieces of her work, Woodman most likely used a faster shutter speed to avoid capturing movement within this photograph. She has also used natural lighting and a varied tonal range, the darkest parts of the image are completely black while the lightest parts are a smoky white.

Visual –

Just like the rest of her photographs, this image is in black and white which adds to the image’s surrealist atmosphere. In this photograph she is wearing a polka-dot dress and directly making eye contact with the camera whilst some of her other photographs feature her nude body and blurred face.

Contextual –

This photograph as well as her other polka-dot dress images were a staple of her RISD period, these images were made while she was studying abroad with RISD in Italy from 1977 to 1978, these continued when she moved to New York 1979.

This photograph in particular, along with some others, were made in her studio/home which was an old dry goods factory off-campus with no kitchen, heat or shower. The decaying building was used as a backdrop for the majority of her work.

I chose Woodman as one of my inspo photographers because of the aesthetic of her work and uncanny aspect of them. I was also inspired by the blurred motion that she includes.

Links Used:

https://www.tate.org.uk/art/artists/francesca-woodman-10512/finding-francesca

https://www.artnet.com/artists/francesca-woodman

https://woodmanfoundation.org/francesca/works

https://www.theartstory.org/artist/woodman-francesca

https://www.tate.org.uk/art/lists/five-things-know-francesca-woodman#:~:text=Woodman%20used%20long%20shutter%20speed,which%20suggests%20motion%20and%20urgency.

https://www.modernamuseet.se/malmo/en/exhibitions/francesca-woodman/francesca-woodman

https://iass-ais.org/proceedings2014/view_lesson.php?id=84#:~:text=Francesca%20Woodman%20knew%20how%20to,words%20needed%20to%20tell%20them.

https://www.sothebys.com/en/buy/auction/2019/classic-photographs/francesca-woodman-polka-dots