MADISON JAMES
Work Inspired By Elene Usdin
This is one of my images created in response to the work of Elene Usdin. The composition with the harsh line of the divide the trees create to half the image and the curves of the lamp, chair and cows in the background create a satisfying juxtaposition. This contrast draws on the surrealist imagery Usdin creates in her work. The use of the neutral and green colours creates a more seamless blend between the model and nature, similarly to the relationship Usdin shapes so successfully in her imagery. The use of colour speaks in volumes about the identity of the subject, which is significant when the face is concealed. Additionally, this natural lighting and consequential colouring, with the more muted tones will work well with the eventual outcome of the magazine I aiming to create- the purpose of the outcome was something that had to be thoroughly considered in the photographic process. The background and the imagery allowed by the cows being there balances reality and fantasy quite well, especially as the pose of the cows is quite unnatural. This takes inspiration from the surrealist photography movement. One of the fundamental ideas behind surrealist photography is to create a distance from reality, which was a key aspect in the birth of the movement when surrealist art was introduced to post war Paris as a form of escapism. It was important to create a balance in my photography between surrealism and reality- enough to create an air of mythology but also to allow room for didactic social commentary about identity and its expression. The notion of faceless photography is particularly explicit in this image, given the use of props and the composition which places a heavy focus on this, and it creates an effective contrast to my other faceless imagery, which is more subtle. The influence of Elene Usdin is prominent in this image and it creates the opportunity to develop my thoughts on the significance of faceless portraiture.
Furthermore, this is another image created in response to the work of Elene Usdin. The decision to opt for a monochromatic image is effective in placing an emphasis on the contrast between the subject’s pale skin and the otherwise darker aspects of the image, such as the subject’s black shoes and furniture. This contrast in lighting and colouring helps to give the photo further depth, whilst framing the portrait itself as the focal point of the image. It is significant that the face of the painting is emphasised in the use of symmetry composition, given that the photograph is expressing the idea of faceless portraiture. The decision to use a hugely recognised portrait- The Mona Lisa- adds a level of irony to the image but also makes it more aesthetically pleasing. It gives the opportunity to question to what extent the identity of the subject can be deduced when there is a glaringly famous focal point as a distraction. In turn, this illustrates just how powerful faceless portraiture remains. The Mona Lisa has become an iconic image to use in grunge and contemporary urban street art- “Perhaps because she’s such an internationally famous work of art, the Mona Lisa has been a favourite of street artists all over the planet when it comes to finding something to 'inspire’ them for their own work.” (‘I Support Street Art’, 2020) Examples of the Mona Lisa being rejuvenated for contemporary urban street art include ‘Banksy’s Mona Lisa With Rocket Launcher’ , which seems to act as a political statement on war but given the context of Banksy’s work, no one can give an accurate statement on its meaning. Another example, which is equally as controversial, is ‘The Okuda Mona Lisa’, which depicts a topless Mona Lisa in a psychedelic, abundantly colourful style. It seemed fitting to experiment with using this painting in my own imagery. There is a prominent juxtaposition between the elements of class in the image and this notion of street culture in the portrait; this helps to reveal more about the subject’s identity, despite not being able to see their face. This was the first image of my series that experimented with placing someone else’s identity onto a subject; not only concealing their face; giving them a new one. There is room for improvement in the composition of the photo, perhaps a more obvious use of symmetry, regardless of this, the implementation of the rule of thirds and the use of shape in line in the multiple rectangles, works effectively in positioning the focal point. It also helps to bring together the different textures in the images and the contrast between them and the lines they create- for example the jagged lines of the shrubbery against the curved smoothness of the arch in the background, all of which can be used to explore the subject’s social identity, without seeing their face.
