I have now completed three paintings based on the photographs I took of the sculptures, these photographs aim to bel representational of the sculptures yet distort the viewer’s impression of what the objects may look like in real life. For example, in the photographs the objects seem much larger in scale and in some instances they look very reminiscent of the skin/body, or even landscapes. This means that the paintings are very abstract, it’s unclear what they could possibly be representing, yet the objects that they contain have a feeling that is slightly human. In terms of skill, I feel that the paintings are okay, they aren’t exactly a showcase for me, but they are still of a quality that is adequate to meet the aims I set myself and the ideas I wanted to evoke.
Working on my sculptures within a photography context has been very interesting, I have been using the medium to expand the viewers perception of the pieces, eg change the scale and shapes within the sculptures. One of the brief within the photography material project I was involved in was to add either words, an appropriated image/video, or a drawing to two of the photographs to call attention to the aspect of the photograph that we find most important and to present it as a finished artwork.
Leading on from this I felt that my added elements should be self produced photos. my first idea was to recreate the murky, high f-stop photos which contain dark shadows cast up the wall behind the lard sculptures, using a face. I photographed my girlfriend against the backdrop of a white wall, and after manipulating the photographs crudely I managed to create a strong compositional likeness to the original photographs. Placing the images side by side, I realised that adding these images made the work less interesting. Using a face is somehow too literal when the most interesting part of the original pieces is their ambiguity.
This led me to going back to the drawing board, maybe rather than use the second image to highlight a particular trait of the work, explaining it in some way; I should make a mirror of the work, point towards it’s mystery and its ambiguity. To do this I decided to go back to the root of the work, create a couple of photographs using an actual human body as the subject matter for my abstractions, using close shots and avoiding points of reference on the body or skin.
I took a couple of photos of the body using the photographical techniques I used in the previous lard sculpture photos and these new principles, and ended up with some quite effective photographs which relate nicely to the original photos.
I realised I really liked the new photos and their relationship to the original photos, so I made a whole set of new photos to match the originals, I printed them off in black and white as well as colour as the lack of colour actually increased the amount of mystery around them. I feel that I can push this forward and turn the photography into a new tangent, possibly making the photographs of the human form into a finished or complete work in themselves.