spotlight, frames and stories

Crewdson is indeed working on the creation of a completely constructed world, one in which every detail is just right and the whole model cosmos is only fully comprehensible within its own hermetic logic. Photography is his preferred medium because it allows him to create images of a 'perfect world.' [1] 

Gregory Crewdson - Twilight (Plate 5)

Gregory Crewdson - Untitled (Flower mound)

Rather strangely I have so much to say about Crewdson's photos I don't feel like I can say anything at all. I am in love with the eeriness and quietness of the photos, I enjoy how light interrupts the reality of these images. Instead of being a single frame of a longer story, these photos create an atmosphere that develops its own story without needing to know what's happened before and what's to happen next.

The second favourite detail was the use of flowers. This is not something I was looking at before but now I can't seem to get it out of my head. Last year I based a lot of my work around the form of flowers (pressing them, using them in parts of my films). I don't think it's the safety of going back to something I know - I think I just feel like there's more I can say by using them within my photos. Choosing the right flower for an image is already its own journey. That's just an idea, but I thought I'd mention it. I realise this looks more like a jumble of words than anything else. My three current interests in the final portrait are lights, story and colours. I want to be able to tell an insightful story about the person in the photo, although I realise it might need to be fictional. I also want to try and set up the scene for the image because that is not something I get to do often as I'm usually more of a 'right moment and luck' person.

Here's the few photos I took with these things in mind:

At the same time, I'm trying not to forget about the idea of strangers and what their portraits can tell to the viewer. For this I looked at Philip-Lorca diCorcia's photography because I fell in love (rather creepily) with how he got such detailed, studio-like images without the people actually knowing they were being photographed (series Heads).

Unlike the pioneers of this movement, however, Philip-Lorca diCorcia works in colour, using a large-format camera mounted on a tripod. Choosing busy urban scenes in the great metropolises of the world, diCorcia installs flashlights in the field view which artificially illuminate certain parts of the picture. [..] Individual eleents of these colour photographs are accentuated by what seems to be stage or film-setting lightning, lending these completely normal urban situations a dramatic and synthetic character. [4] 

On a different note, I really enjoyed this book on diCorcia, so I also want to quote the start of a different paragraph:

I was recently having a few drinks in a pub. After my second or third beer I had reached that unusual state of mind which I very much enjoy beingin and which I would describe as a heightened visual perception of my surroundings. [..] It is precisely in this scenario, too, that I begin to perceive certain details - objects, gestures, facial expressions - with extreme clarity. [4] 

I do believe the tip there isn't to go out drinking but rather how our brain can sometimes write off the most unique of details in everyday setting because of how used we are to seeing them - and that sometimes we need something to give us a kick so we can see clearly again.

A while ago I also had the opportunity to create a piece for OXO Bargehouse in London. It was a journey from absence to presence, as well as getting from a first impression to an overwhelming amount of detail.

Even for these photos my absolute favourite detail was the light on the floor, interrupting the simple contrast between light and dark. I'm struggling to explain why precisely it makes me feel like there's more to the picture than just a subject but I don't think I've yet come to a sensible conclusion.

The final photos are once again two examples of where I regretted not having my camera on me as I realise they are not necessarily good images but I enjoyed taking them 1) because of the simple colours of greens, yellows, whites and browns, as well as how the light and shadow met on my friend's face; 2) the unusual and unrealistic pattern of artificial light, and the style of the strangers in the picture. I just thought I'd leave them here as I did enjoy them so perhaps they can inspire me in what I want to do next.

Bibliography:

[1]  Berg, Stephan. Hochleitner, Martin. Siegel, Katy (2005) Gregory Crewdson: 1985-2005. Berlin: Hatje Cantz

[2] Lethem, Jonathan. Spector, Nancy. Harris, Melissa (2013) Gregory Crewdson. New York: Rizzoli

[3] Sante, Luc. (2001) Heads. London: Thames and Hudson

[4] Weski, Thomas, diCorcia Philip-Lorca (2000) Streetwork. Hannover: Sprengel Museum Hannover

layers of dream

shizuka yokomizo

Anonymity. It's almost impossible in this day and age when everything can be traced back to you and everyone can be followed. You can find out what a person likes just by typing in their name and looking at their profile. Obsession. Loss of individuality. Voyeurism. Worshipping. It's insane that we choose to put ourselves out there in such a pure form that a stranger can learn about who we are by simply looking at a screen. That's the initial reason I decided to look into Shizuka Yokomizo's work.

She plays with the idea of who a stranger is.

How would you define a 'stranger'? Up until now I'm fairly certain I would've imagined someone I've just met and haven't been introduced to. Someone I've not talked to.

For Yokomizo a stranger is someone she will only see once for ten minutes through a window. Someone she knows nothing about. Her strangers are blank canvases she's chosen by the accidental happenstance of them living in the houses she's sent a letter to. She doesn't know who they are yet she's bold. She allows them to take part or to refuse. She never meets them. There's nothing but the images capturing this 'meeting' from afar.

The six portraits from 'Stranger' series:

With our personal worlds shaped by relationships of differing degrees of intimacy, the idea of a stranger interested me for being one of non-intimacy almost by definition. ^[1]

Born in Japan, Yokomizo moved to England in '89 to study graphic design but soon realized that she wanted to pursue photography and film instead. The 'Stranger' series developed after Yokomizo took photographs of her friends asleep in their rooms (series 'Sleeping'). She liked the idea of mental and physical distance which then lead towards the exploration of the relationship between an artist, a subject and the viewer.

The division between public and private has changed massively over this time period for many reasons. And taken as a whole, this is much more significant, I think, than cultural differences. ^[3]

All of the people in the 'Stranger' portraits have an important role - to be themselves. There are no other connections, nothing else that can tell the viewer - or even Yokomizo herself - what's going on behind the scenes, and no one else can dictate what the image should look like and how it should be composed.

I think that's the most mesmerising fact of all - these people chose to welcome a stranger into their homes. Even the window is no barrier as Yokomizo requested the people to look into the camera for ten minutes straight, meaning she and the people held eye contact for quite a long period of time.

When I first looked at these images, I didn't see much. I only saw the colours, the lights and the aspect ratio (which are wonderful! I really like the photo that's quite cool in comparison to the warmer ones. I also like how the aspect ratio gives the subject a space but doesn't show us too much). The technical side.

But the longer I looked, the more I felt like I knew who these strangers were. And that's incredible. I'm at a loss for words. That's a phrase that can be thrown around quite a bit but it's difficult to explain the connection I feel to those images. Perhaps my mind's straying too far off the topic but I think that the photos that tell a real story are the most valuable ones.

The most interesting thing is that when asked to cite her inspirations, Yokomizo says she's passionate about Keith Haring, Gilbert & George and Joseph Beuys. She says that what she creates now has come from what she's learnt and the way her perspective has changed. Some people are their own inspirations, I suppose.

Bibliography:

[1] Yokomizo, Shizuka (2002) Shizuka Yokomizo. Milano: Electa

[2] Yokomizo, Shizuka (1999-2000) Stranger. At: http://www.shizukayokomizo.com/6/4592958791 (Accessed on 3/10/17)

[3] What are you looking at? (2010) Exposed: Voyeurism, Surveillance and the Camera. At: http://www.tate.org.uk/context-comment/articles/what-are-you-looking (Accessed on 2/10/17)