I have a lot of very thorough work from the past. These are only snippets of that work, and some I would prefer not to show. These are snippets of past creativity. I now exist as a robot for a corporation where I plug myself in every night to recharge as to be capable to do their bidding.
I am always emotive in my approach, and strive to use evocative material as the basis for my work. As a major part of this work I have looked into notions of the body beautiful as well as the genre of female nudity, whilst paying homage to its traditional and sensual overtones. I have also explored the issues of misogyny, the ‘gaze’ and aspects of feminism and female empowerment. The relationship between society and the media, including its ideological framework is very much under the spotlight with my work.
My work has been influenced by ideas that for me hold strong emotional resonance. Like the song or smell that triggers a residual memory, images can evoke a personal emotional experience. The concept and content of this project is that of the’ commodification’ of the female form. The images speak of the anonymity of the female form and inherent misogyny or equality in the western media, depending on the outlook and subtext of any given element under the microscope.
Through the packaging of the female form, and through the boosting of advertising, the female in western society finds herself in a unique position of power and status. The male gaze in my book is dominant as I believe it is in western society itself. The female body is revealed through my work as being the dominant commercial product. Individual identity has in the media given way to a generalization of the female form as a sexual object; one heavily influenced by notions of the body beautiful. Such images are perpetuated by influential agencies such as the mainstay of all that is false; Hollywood.
I am a photographer who deals solely with the digital. Many see this as a disadvantage that perhaps not having an analogue grounding means I somehow lack the traditional skills need to be a fully accomplished photographer. I am of the opinion that a camera, whether it be digital or analogue is tool like any other to get the job done. Of course cameras all use the same basic principle no matter the technology that resides within; it is up to the photographer’s skill to capture the desired image.
Post production in traditional form, through the use of a darkroom is something of an art perhaps; however digital post production can be seen as no less challenging. Whilst it is seen as being more efficient perhaps, I believe a great deal of work and skill is still needed to produce the adequate photo from its raw state. It of course all depends on the final result you wish for, and I find digital post production (digital darkroom) to suit my needs entirely.
There are of course other photographers who focus on digital photography. John Goto is one such photographer, as is David LaChappele and indeed their unique styles owe much to digital capturing and post production, although knowing their art as they do, they are accomplished with traditional photography as well. All this goes someway I hope to justify my reasons for relying only on the skills I have gained with digital photography.
My greatest weakness is also my subjectivity. At times I feel that I work with a narrow field of vision. Photography satisfies me personally and I do not tend to look beyond the simple concept. For me over analyzing a subject, even an object devalues it to a point where it has ceased being ‘beautiful’. Walter Benjamin’s statement of the erosion of an aura in the age of mechanical reproduction bears at least some relevance to my beliefs. For me this weakness can also be seen as strength. It allowed me to properly envisage the project early on (at least once it had commenced after previous failures).
I believe the work I have produced is of sufficiently high quality rather than high quantity. I have fully explored my passions for the symbolic through the text and imagery involved throughout the work. Through the symbolic imagery involved I hope I have delivered not just an accomplished and informative subject matter but one that expresses notions of the female body as a commercial product.
Through my research I have attempted to explain the religious and symbolic worship of the female form through time immemorial, how that played a larger part in the past than it does now. In western society, particularly the youth market we have seen the dominant female form as being that of the youthful and slim ideal perpetuated by current ideology, again chiefly from the media and its relationship with the public realm.