Week 3: Constructed Realities / False Indexes
This is possibly one of my favourite genres of photography, and although I do not practice it myself I am very much in admiration of those who do.
There are many examples which I can use as inspiration and evidence to showcase here, and even a few which fall into my spectrum of performance art, such as this piece by Gavin Smart whom I interviewed earlier in the year. His work for the Royal Opera House specifically adopts a filmic/cinematographic approach rather than that of a theatrical still. This example for a production of the Adam’s family, is a beautifully composed portrait which in one shot captures the essence of the characters in their environment. It is clearly constructed and staged to exploit the individual details of the cast.
Figure 1: Smart (2019)
Another photographer whom I greatly admire is Nicolas Laborie who specialises in wet plate collodion imagery of a fantastical nature. Although taken in the 21st century his work is very staged to represent a time from the mid to late 19th, and the age of the daguerrotype. This image from his series FAIRYTALES IN THE MIDST OF THORNS symbolises a recurring theme of childhood and the idyllic settings we sometimes associate with the innocence and imagination of youth . It is an ageless precomposed situation designed to exploit both the process and the magical connotation of fantasy in reality.
Figure 2: Laborie (2018)
Taking constructed realities to another scale, usually on an exterior location are the likes of David Yarrow and Aubry Powell, both with a more commercial edge to their compositions. Powell’s work for the art house Higpnosis was very evident through the career work of PINK FLOYD predominantly in the 70s and 80’s. One which particularly comes to mind for it’s iconic and controversial imagery is the album artwork for WISH YOU WERE HERE in 1975. His work reputedly inspired by that of Bill Brandt offers a striking statement.
Figure 3-4: Powell (1975)
My final example is by one of today’s most coveted and renowned ‘Constructed Reality’ specialists. David Yarrow has built a reputation (like Crewdson) for expensive elaborate shoots on epic scales. His fictional compositions mimic film stills or scenes with actors and models in constructed scenes, the aesthetic of which conjures complex and yet concise storytelling. This unique approach offers a poster like presentation rather than a coffee table size book. Unlike Crewdson where the focal point and human activity is often focused in miniature amidst a landscape of vast complex scenery, with Yarrow people dominate the image and are surrounded by supporting activity. It would appear significant digital manipulation is involved to remove this scene from reality (where the majority of the shot is actually composed with present actors on location) to an alternative plane of fictionalised thematic storytelling.
Figure 5: Yarrow (2020)
This week has been very challenging for me as my practice doesn't really sit comfortably with the concept of constructed realities. By that I mean my work is very observational and factual, and not subject to manipulation whether that be in post or staged to present an alternative reality. If there is an element of 'construction' it is in the composition of the scene and the intention. However, I have taken great inspiration from some of the photographers we have reviewed, like Laura Letinsky and Sam Taylor Wood who offer unique perspectives into composed 'fictions'.
For my module project I am adopting a theme of 'Abandonment, Decay and Loss', and although most of this is location shooting, I do intend to combine some 'stilled life' imagery in my portfolio of a more personal nature. The artists we have featured this week have certainly given me some great ideas.
A photographer I have recently discovered is Christian Richter, who visits abandoned locations and photographs them in their varying states of decay. He plays on the premise that in a world of overpopulation and overcrowding, there are places where chaos and calm exist, without the interaction of humans.
His images are very powerful and look almost 'constructed' in their appearance, but clearly are in a permanent state of stasis and untouched by the outside world.
Figure 6-8: Richter (dates unknown)
I was on a photo shoot last week which was produced some interesting images for a new project I am working on. Although like Richter my work wasn't typically constructed, it does tell a story. Although I didn't do it intentionally I see some similarity in my work to his. This is constructed in a sense that it is storytelling of a kind, although fictionalised.
“I like to take the reality of the world and use it as a springboard for the imagination”.
Soth (2015) http://bleek-magazine.com/interviews/alec-soth/
Figures 9-11: Tipping (2021)
BIBLIOGRAPHY
Figure 1: Smart, (2019), The Addams Family, available online at: http://www.gavinsmart.com/portraits/dl1irudpyal37xzx74jxc65gimu9hq
Figure 2: Laborie, (2017), The King & I, available online at: http://www.nicolaslaborie.com/album/fairytales-in-the-midst-of-thorns.html?p=1
Figure 3-4: Powell, (1975), Wish You Were Here, Pink Floyd - Their Mortal Remains, (London) V&A 2019
Figure 5: Yarrow, (2020), The 3-10 to Yuma, available online at: https://davidyarrow.photography/collections/310-to-yuma/
Figure 6-8: Richter (dates unknown) The Abandoned Series, available online at: https://www.dezeen.com/2016/09/11/christian-richter-photographs-abandoned-empty-buildings-europe/
Figures 9-11: Tipping, (2021), Paignton Picture House.