Hidden Contemplations
A common theme throughout my work focuses on obscuring figures to hide the subjects’ faces and bodies, therefore erasing their identities. The action of obstructing the individuals mirrors both historical and present situations where women and marginalized groups are subject to societal and cultural pressures. These include but are not limited to loss of bodily autonomy, stereotypes, expectations, and political, social, and economic restrictions. However, I use a variety of fabrics, objects, and colors that hint at the strength of femininity, and to enforce a sense of control and power that can be constructed by the figure and viewer.
Obscured
Including the audience in these images is a crucial aspect. Hiding the individuality of the figure provides a space for the viewer to place themself in. By creating a reflection back to the viewer, there is breathing room and capacity for self-reflection in the image. What can be found in this new area of contemplation?
Reflected
These photographs are a part of a series where the figure slowly emerges from their concealment. I used cyanotype to replicate the digital photograph in this historical practice of making blue-toned prints. This refers to how the many struggles that are faced today are mirrored in history. The figure breaks through these constraints and has control over how much they are exposed or concealed, reclaiming the power over their identity.
Concealed
Another area that I have expanded into is risograph printing, which is often to be considered a method of digital screen printing. Utilizing these vibrant and fluorescent colors helped me to bring out a different impression from the figure. Drapery and fabric were substantial in historic paintings because the realistic depiction of material would showcase a painter’s skill. Fabric in portrait and figure paintings would show the status or position of someone, such as if they were royalty, a worker, or another position. Also, the color and material of the fabric were significant. In Greek paintings, the fabric would be positioned over sensitive areas to provide modesty and to follow religious practices at the time, in both paintings and sculptures. However, what is the significance of using floral qualities rather than fabric? This can be seen in the example of Abrahamic religions’ creation myth of Adam and Eve, and their banishment from the Garden of Eden, where they used leaves and vines to provide modesty once they gained knowledge.
Shielded
In this set of images, a UV light was used alongside white lace to create an otherworldly figure, with a strong sense of emotion while remaining faceless. I created a cyanotype of this image as well and toned it in tannic acid to create another historical connection. One of the main inspirations that drew me to start these related series was because of my research into the historical concept of the “hidden mother” portrait. In this style of photography, a portrait of a baby would often have an unseen mother who was draped in the fabric holding the baby. This was a necessary practice because of the long exposure times of photography, as the babies needed to be held so they would not be blurry. However, the mothers were unwanted and cast out from these photographs, erasing their identities. The photographer Patty Carroll also explores similar themes in the series Anonymous Women, and I admire her work profoundly.
Shrouded
