Structural objects?

Upon reviewing my work so far, it seems to be taking a structural/sculptural tangent. I aim to continue to photograph mannequins also, but my focus will be trying out different objects to photograph in these baron/empty settings. And I use the word 'setting' rather than landscape, because these aren't to be landscape photographs. I also intend to photograph my partner (as I have been) within these images, who has been helping me set up the photographs thus far. The relationship between his dark - and usually hunched - figure and the objects at hand is interesting, and I can see it potentially becoming an interesting series if carried on - alongside the images I'm setting out to take anyway. 

Objects I can use? Structural and domestic, try different angles?

Ironing board, lamps, shelves, vacuum, brooms, beanbag, suitcase, boxes, piano base (more to add)

Branches I'm exploring currently:

• Obscure objects
• Mannequin placements
• Obscure/juxtaposed scene
• Figure of my partner in shot, setting up

Minimalism

Minimalism

Emerged as a movement in the 1950's, through to the 60's and 70's. Describes visual arts that thrive on simplicity, in content and form, to remove sign of personal expressivity. Its aim is to allow the viewer to experience the work without the distraction of composition, theme etc, so therefore experiencing the work more intensely. 

To expose the essence, essentials or identity of a subject/object through eliminating all non-essential forms, features or concepts.


"A shape, a volume, a colour, a surface is something itself. It shouldn't be concealed as part of a faily different whole."   - Donald Judd.

Bernard Faucon

Bernard Faucon
http://www.bernardfaucon.net/v2/bernard_faucon_english.html


Discovering photography soon after working as a fine art painter, his work has a love of youth and dream-like beauty. Saturated colour, natural settings and the use of mannequins become prominent in his work. 

Les Grandes Vacances

My response

It isn't the love of youth and dream-like play I aim to draw inspiration from. Prior to researching further into the reasons behind Faucon's work it was my initial response that lured me in to this work. My response was that of confusion and wonder at this little window of strange. His scenes are largely set up, dressing up the mannequins, setting props around the "set" etc., but it is the sporadic (at first glance) nature of the set up that I wish to take and experiment with. 

Scattering of the mannequins/parts definitely make an interesting image. My aim currently is to do simply this, to leave the audience with their own thoughts. The colour image reminds myself of religious paintings, the sunlight is low and highlights beautifully against the natural setting/tones of the forest. Whilst the ghostly hands stand out, gracefully held in their delicate stature. 

Random and playful placements across a scene. They do speak of playfulness, but it is quite eerie at the same time. The statues stand out, their forms ghostly white with delicate form - comparative to the complicated busy-ness of the forest - leaves covering the earth and twigs/vines/branches reaching out in every direction. It is quite an eerie scene indeed.

Sandy Skoglund

Sandy Skoglund
http://www.sandyskoglund.com


Images 1996-2003

Creates surrealist images by building elaborate sets and environments, the process of which can take months to complete. Once completed, she photographs the set, often with actors or sculpting's. There is often an overwhelming amount of one object, usually strange to begin with but made stranger when multiplied across the set/environment; also usually either bright or contrasting colours. 

Of course the massive sets are too elaborate for my time scale, but depending what is available to me this kind of style is quite accessible. I've already collected a number of images with the use of mannequins, however I could only carry so many with myself without the use of a van. My intention is to use perhaps smaller object, completely taken out of their usual context. As said previously, this is to study and photograph an objects nature and structure in bizarre surroundings to what it is usually found. 

Continued shooting

My next step was to take the same idea (use of mannequins, hopefully other objects at hand) but simply to a different environment, to add to this strange collection and see if the images work together as a series. Waiting for grey/dreary weather was intended, as it adds to the lost nature of my work, a cloudy image in my mind. I decided to follow through with a minimalistic style, no complications within the frame but the landscape and the object. How do the two relate to each other? Well they don't relate at all, why on Earth should they. We have a cast of a male's 'nether-region' in the middle of a crop field (cabbages/potatoes?). I think that's the point of this, that there is no actual point but to see what I (and potentially others) would think about it. Personally, this is a field where I walked my dog for many years, circling three times a week. The field I can relate to, the object I can't. What do I think when I see this alien object there? I'm not perfectly sure in all honesty, but I link it to some bizarre Dali/Magritte image where juxtaposition and symbolism work hand in hand. Some make sense once analysed, some shouldn't make sense at all.

I was advised to bring in different objects (to explore with other meanings than just mannequin parts), and unsure what to bring and attempting to avoid cliche's, I wanted something large, structural, something of a strange shape. A narrow shelving unit took my eye, and put against a dreary and completely different environment would work as a great contrast. Upon inspecting the photographs, they take a minimalistic and sculptural form. The field (surroundings) is the plinth, the object is the sculpture. 

Again I was intrigued by the images of my partner helping me set up the photographs, standing as this dark figure next to this 'sculpture' and the body language/stature he held whilst attempting to keep it upright. Below, he's hunched over in inspection, and his stature in comparison to the straight cut shelf is an interesting illustration. Below this, his hand is connected to the shelf, still in a hunched position. The shape they form together is intriguing in itself, as if they are fused.

Again, walking away from setting up. His own black figure takes shape on its own, legs acting as stilts whilst the red block needs only itself to stay standing.

Below, almost humorous? 

Shoji Ueda

Shoji Ueda
http://www.shojiueda.com/eng/profile/

Still lives, landscapes, staged images of children and architectural photography.

Theature of Dunes, 1945-1951
Return to the Dunes, 1980s-1990s

Inside the region to where he was born, the dunes of Tottori was the setting for his most well-known works. Arranging characters/actors/members of his family in the landscape, as if a theatre director, creating a dream-like scene amongst the baron landscape. The images result in a sombre composition, yet with a hint of humour. 

These images are much alike to what I visualise my own ideas to be, yet I aim to draw attention to object in the stead of people. Structure and meaning of its structure is my focus, and the baron/empty landscape settings, I believe, help draw attention to the objects at hand. Or rather, take its meaning away. 

Reflective thoughts

Upon reviewing my work in progress and discussing it with peers/tutors, I feel my work is definitely working up to an interesting idea. However it was discussed that I ought to try use something other than mannequins now  - for variety and experimental purposes. Mannequins tend to be a "used" idea, and although still potential it is often best to work towards something different. 

I want my images obscure, subtly surreal. Objects that are obscure in shape, nature or in a different environments will help me in my work. It is just a question of finding them and thinking of new/interesting ways to photograph them.