sampararach

Thursday 12 June 2014

The last word

When first given the brief of Pretty Ugly, there were unlimited variations of non-traditional forms of beauty that I could choose to study. I created a mind map to discuss these possible directions, as well as a Pinterest board. I then narrowed my concepts down to: wrinkles, cellulite, freckles, moles, warts, scars, stretch marks, and other skin “defects”. I settled with these ideas because they are seen as abnormalities of the skin; we are taught to hide and feel ashamed of these things, despite the fact that almost everybody has them. I created a mood board to portray my ideas. On further reflection, I decided that perhaps there were too many topics that I wanted to explore; therefore, I narrowed my focus down to cellulite and stretch marks.

As well as focusing on non-traditional variations of beauty, I also discussed the idea of the 4 D’s: distort, deform, disguise and decorate. Discussing these four concepts, allowed me to see how easily the face can be completely altered; portraying how easily one’s appearance can be changed so dramatically, this was all in preparation for my final outcome of a mask which was to be showcased in my fashion film. Inspiration for the masks would come from the concept of the 4 D’s.

I collated a range of primary imagery, in relation to the 4 D’s. I first began by using a variety of materials to physically distort my own face; e.g. wrapping string and cellotape around my face, pressing my face up against a sheet a plastic etc. I portrayed the photographs I took of these in the form of a mood board. I also illustrated some of these images to add to my visual journal; an A5 booklet, containing images to support my concepts, which I would continually add to throughout the course of this brief.

I then used a model and with the use of found objects from around the home photographed her, depicting the 4 D’s, using my Polaroid camera. I used makeup to create a scar and birthmark for disfigure, wrapped string round the face and had the model pull the skin on her face for deform, I used a wig and a mask and then covered the models face with her own hair for disguise and finally, used drag queen style makeup and also used makeup to create tribal markings for decorate. I also studied artists who also use these four ideas; I also took the work of these four artists and interpreted them by digitally altering photographs that I had taken prior to this brief.

My primary research also consisted of taking photographs of cellulite and stretch marks; both on myself and family members and friends, as well as looking at two books: "The instruments of torture" by Michael Kerrigan and "Masks. The Art of Expression" edited by John Mack.

With my primary research in place; I then began working into the photographs I took of my own distorted face, to further develop my ideas. I printed off these images and re-arranged the images to further distort my face. However, I felt as though these images were not enough to portray the distortion of my face; therefore, I used a photocopier to create images of my face from an entirely different perspective. I then used different techniques: repetition, paint, biro, only using sections of the imagery, etc, to convey my own unique interpretation of these photocopied images.

My work so far had mostly came from primary research; therefore, I decided to do some artist research to gain further inspiration. I firstly looked at Hattie Stewart; an artist who decorates the covers of already printed magazines, by drawing over them in markers, in a cartoon/anime style of work. Taking markers and Tipex, I mimicked her style of work by drawing over the covers of Elle magazine. I also looked at photo montages during my artist research, although I am unsure of the artist’s actual name. I did these montages digitally, using eyes, ears, noses, mouths and other facial features that all belonged to different faces, and collated them all onto one face. I also added these montages to my visual journal.

I decided to then look an artist who worked with masks, in order to influence my outcome. I first mimicked the work of Junior Fritz Jacquet; distorting toilet roll holders into faces, by moulding their expressions and facial features into shape with water and painting them, once dry.

The next artist I studied was Paddy Hartley. The work of Hartley's which I studied, consisted of facial corsets, influenced by historical reconstructive surgery given to post-war soldiers. I then used an image of myself to create a 2D facial corset. I also looked at three artists: Lucy Mcrae, Rosa Verloop and Matt Wisniewski, whose work I felt would influence my design ideas for the creation of my mask; despite Hartley’s work being affective; it is not particularly my style and I felt I was influenced more by the work of the Mcrae and Verloop.

I further developed my visual journal by editing photographs which I put on my Pinterest boards, relating to my theme and edited them to make them my own. These images included: wrinkles, freckles, stretch marks, scars and other body ‘defects’. In preparation for writing my own magazine article for the college in-house magazine ‘Iconic’; I first began by analysing ‘AnOther’ magazine. I created a mind map discussing all the key features of the magazine: layout, advertised brand names, theme, target market, editor’s name and a variety of other features. This information then allowed me to understand fully how a magazine was put together, allowing me to make a more informed decision of the way I wanted my article for the magazine to be put together.

As the theme for my magazine article was going to be discussing cellulite and stretch marks; I made the decision to only use text for my article, as I felt that the images of both these body markings wouldn’t sit right around the text. I therefore, decided by laying out the text in a creative way, it would still be aesthetically pleasing, despite the lack of images. The concept of my article discussed: despite cellulite and stretch marks being normal markings to have on our bodies, why is it that we feel ashamed of them and does the media constraint society’s view on these ordinary attributes. I approached the article in a laid-back, informal manner, almost as though I was having a conversation with the reader; I feel this allows for a bond between the reader and the writer, almost as though they are listening to a friend, rather than a stranger.

For my final outcome of a fashion film and editorial, I will be including a mask; the mask will be based upon my chosen theme of cellulite and stretch marks. I began with design development; this was inspired by both my primary and artist research, in which I designed several ideas for potential masks. In the end I decided to create my mask out of liquid latex; the texture of it appears skin like and therefore, I thought if I put it on unevenly across the models face, it would resemble the uneven surface that cellulite and stretch marks give the skin.

Before creating my own film, I first thought it important to study other fashion films; by looking at other films, not only can I gain inspiration and ideas, but it also allows me to understand what makes a successful fashion film; “Holi Holy” A Manish Arora film by Bharat Sikka and “Primal Scream” by Show Studio were the two films which I compared.

With a better understanding of what makes a successful fashion film, I could then begin to plan my own film. Firstly, I created a mind map, conveying my ideas; which I then further developed into a visual story board; this board discussed how the film would be produced, frame by frame. The primary basis for my film developed the concept of my magazine article further: the constraints the media and society put on beauty. Why do people (women in particular) feel pressured to have a certain appearance within Western society? In our ‘Photoshopped’ world, do we feel that this unrealistic look that we are surrounded by, is the goal that we should be working to achieve? I also wanted to show how, despite the fact the model’s face is covered, the audience is still attracted to her; due to her sexualised movements and lack of clothing; which poses the question: is beauty really all that important?

The pace of the film is quick; with each scene being no more than approximately 2 seconds longs. A/B Machines by Sleigh Bells is the accompanying music, which mimics the speed of the clips within the film; at certain points throughout the song, were the beat drops or changes, I have collaborated a change in direction within the film; for example, the atmosphere alters from aroused to intimidated. I decided that in order to collaborate the two base ideas together: the media's constraints and questioning the importance of the model’s beauty (if her face is covered), I felt that both these concepts needed to be present at all times. I styled the model in duct tape (across her breasts), black lacy knickers and the liquid latex mask; I thought that by using bondage type clothing, this represented restriction, both in a sexual and metaphorical way. I feel like my fashion film is a positive representation and equal balance of discussing both my hypothesises; I believe my film leaves the audience both attracted to the model but also freaked out by her psychotic behaviour at the same time. It also allows them to think deeper about the concepts discussed and be able to question their initial views about the two main ideas which this film conveys.

For my editorial images, I photographed the model during various stages throughout the filming to capture the same ideas as the film represents, but portray them through strange yet sexual poses. I added the black and white optical illusions to the background of these photographs to represent the media. The unrealistic ideals portrayed on the covers on magazines are just that: an illusion. These images are deemed to be the Western ideals of beauty; we are challenging ourselves to achieve these expectations; when in reality, we are tricked by the deception of Photoshop.

Thursday 29 May 2014

INSIDE OUT

The preservation of bodies is one primary way in which we study human anatomy. Skulls and skeletons fill museums, displaying bodies from all over our country from historical eras in time. With this evidence, we can see how evolution has changed the shape, size etc of our bodies; these remains can also determine how old a person is, their gender and many other factors. This not only tells us about the individuals, but also about how people lived within that particular period in time.

With burials being a popular way of putting the body to rest, once a person has passed on in Britain; the way in which other cultures preserve their dead further informs us about human anatomy. For example; in Ancient Egypt, mummification was the way, the more prestigious members of society, were preserved. With the careful removal and preservation of a person’s vital organs; which were kept separately in ornamental jars, this allows us to study more of the human body from the past. As the entire body is mummified, this keeps the body perfectly preserved and enables further examination, to see how humans of the past compare to our present day bodies; this cannot be done with the traditional burials of British bodies, as the organs decay with the body over time.

Other examples of alternative methods of human preservation are: shrunken heads and human taxidermy; along with mummification, all three of these methods provide various ways to see, not only how humans have evolved, but also how human bodies adapt to living in different conditions around the globe.

Leonardo di Vinci was one of the first people to ever draw an anatomical sketch of the human body. Just as we now study bodies from the past, di Vinci used recently deceased bodies to analysis and examine; he did this in order to improve his skills as an artist. Di Vinci believed that by having a better understanding of the human body and the way it was formed, he could make his drawings and paintings more anatomically correct, and therefore more realistic.

Another artist who studies human anatomy is Doctor Gunther von Hagens, an artist who uses the technique of plastination to preserve human bodies and body parts and uses them as figures in his artwork; placing them in everyday situations e.g. playing sport, sitting around a table etc, with the muscular system and organs exposed. His work displays humans from underneath the skin, completing everyday tasks; his work is preserving modern day human bodies, which is fast becoming a dying art form.

With cremation becoming the most popular form of ceremony in the UK, as opposed to a traditional burial: “Current figures suggest that around 70% of all funerals are cremations.”^1.The question is raised: if these figures continue to rise, will facts about 21^st Century anatomy be obsolete? There are many factors as to why cremation has become so popular; the cost for one, “The funeral and burial can cost £4,550 if you already have a plot that was purchased ahead of time. If there isn't burial plot and one must be purchased for a recent death, the cost of the plot could double in cost because it is now needed on demand.”² Were as, “If you have the funeral and cremation, you can expect to pay about £1,950 plus £1,300 for the casket. The total will be £3,250 for a cremation and funeral with a service and visitation.”² Cremations can be made even cheaper “If you choose to have the deceased cremated before the service and no visitation, it will cost you about £650. This is for the standard cremation container and the urn.”² Many people may prefer to be buried once they are deceased, but don’t want to leave the family with such an expense cost; therefore, they may opt for cremation purely from an expenses point of view.

The lack of land is another factor which is taken account when choosing cremation over a traditional burial. Local councils will encourage people to opt for a cremation as this saves money, which can be used elsewhere, rather than keeping large areas of land available to create cemeteries.

My visit to The Victoria Gallery & Museum proved to be very informative an educational. There was a wide selection of artefacts relating to human anatomy to study, including skulls and x-rays, among others; the artefacts which I found to be of most interest, were in fact, dentures and false teeth from the past. This was very thought provoking and links to my previous cremation vs. Burial argument: how will scientists, artists and historians of the future study our teeth and dentures, to gain an insight into our lives; if all the evidence has been burnt away?

In my personal experience, I find anatomy fascinating. My primary contact with it has been through taxidermy, both human and animal; a visit to Obscura: Antiques and Oddities in New York was an amazing experience, a small family run shop displaying (as the name suggests) obscure finds; a sort of taxidermy museum. Finds included: a two-headed calf, a shrunken human head, a preserved human head, empty turtle shells and other unusual but amazing items.

My hope for the future is that; scientists, artists, historians and the like, will be able to have an information and inspirational insight into the anatomy of 21^st Century humans and to be able to exhibit us in fascinating ways, that we have been preserved over time; to be able to physically see and examine us, rather than simply read about us in old doctors notes and crematorium records.