With 5 years worth of academic experience, this past year I have uncovered a deeper enthusiasm for the photograph and digital manipulation. Have a look through some of my top images. Drop me a line and I can help bring your photos to life!
The message I am trying to convey is the negative impact advertising has. The themes of advertising, mental illness, uncanny valley is all linked to the idea of ethics of what those in power are doing to us in encouraging a particular type of thinking. We are too focused with ourselves to realise what is causing us to feel the way we do.
You Don't Own Me
Following the theme of 'Photography Looking as Naturalised', this project attempts to naturalise aspects of sex by presenting them in the style of a classic Dutch painting, blurring lines between the indexical and iconic modes of photography.
John Berger’s book, Ways of Seeing (1972), played a great role in inspiring the form of which my project took. One of his essays unravels the history of oil paintings, between the centuries 1500-1900, and their ties with colonialist attitudes. Oil paintings showed an alternate kind of wealth, where it ‘found its only sanction in the supreme buying power of money’ (Berger, 1972, p.90). In my opinion, oil paintings are both an established art form, and also a representative of a materialistic upper-class. Because of this, I feel the style holds a lot of power in naturalizing, as well as creating desire, in what it depicts. This is why I have chosen to base my project on the Dutch classic still life style, because it will attempt to naturalise aspects of an often undiscussed subject, sex, all while highlighting the ridiculous power play from the ruling class.
This series, Camera Reflections, depicts five completely different cameras taking their own self-portraits in the reflection of a mirror. They are surrounded by objects delivering a narrative of their identities. The basis of these identities come from typical users of the cameras themselves, where they are used to help convey their sense of identity.
The ontology of photography refers to its state of being, and its identity in light of the digital turn, where everything that was analogue photography almost disappeared to be replaced by data. Although I do not attempt to resolve any of these tensions, I instead hope to highlight what photography means to the people viewing these photographs and how photography helps them convey their identities just as these cameras point towards their own ontological status. The images’ self-reflective nature, I hope, will spark autonomous thinking and critical analysis when someone sees photographs in their daily life that should be questioned.