Final Project Artist Statment, Prints and Mulitmedia

Personal Space as a Diary

Personal space is a luxury. Over a two thirds of the world will never experience personal space the way the remaining one third does. However for the lucky ones who live in a culture based on ideas of personal liberty and happiness- personal space has become part of our culture. It has become a marker for socioeconomic status and a container for a myriad of possessions. It can serve as a sanctuary where one escapes the world, a storage for collectibles, a foundation for everyday living or simply a claim on territory. Given the chance to enter ones personal space you enter into a private world, a place of secrets, dreams, desires and hopes; you enter into a diary. Each object and possession a reflection of that individual- a reflection of culture, family and autonomy. 

I set out wanting to understand my changing preteen- tweens they are called- the awkward stage between prepubescence and adolescence. This is a time of changing hormones and exposure to the "real" world in terms of sex, politics and money. This time is especially influenced, more so than ever, by culture, peers and the desire to shape and express a unique identity. I looked for makers of childhood and puberty, technology and analog experiences, consumerism and ephemeral objects. Along the way I found the weird, the absurd and the sentimental.

I learned to tread lightly and be trustworthy. Being allowed into this space and document it for others to see was like being handed the keys to a journal. A heavy burden when faced with the question of How much do I show? Do I open drawers and secret boxes with hidden treasures? Are these possessions embarrassing or mundane? Where do I stop?

These images are just the tip of the iceberg when considering the breadth of my tween's identity.

Alex Harris, Game Boy Series 1998-1999

Alex Harris’ Game Boy Series is interesting in its voyeuristic quality. Harris photographs his son in a way that the presence of the camera seems to disappear from the viewers’ sight. There seems to be an uncensored intimacy to the photographs, as if he were invisible, moving silently, like you would come across a timid animal that you wouldn’t want to spook. This may be in part to the consuming nature of hand held video games coupled with a narrow attention span of an adolescent as well as the familial relationship between the photographer and the subject. However, or why ever this is; I feel like the viewer has access to these small, unfiltered moments where child’s play is never interpreted by the intrusion of an outsider. This lends the images a sense of quite and calmness that contrasts the rapidly changing and dexterous nature of the game boy.  Similarly my project is about observation and analysis; a natural curiosity of another human being, of the life shaping right before your eyes (your own child). Almost an anthropological study of sorts, where nuance and detail are analyzed both singularly and as a whole in order to find deeper meaning in ourselves, in others and in culture.  The aim is to occupy an objective perspective; looking at all objects and relationships as bearing an equal amount of meaning.

Like Harris, my work requires a certain amount of trust between photographer and subject. Unlike Harris who is watching his son, I am photographing the belongings of my daughter. Although images can be presented to reflect the photographers’ concept, in Harris’s case, his son ultimately controls how he behaves; therefore on some level controlling what images can be made. In the case of my project, I am trusted alone with full access to Mercedes’ belongings- free to look and sort through and present to viewers what I consider interesting. It has an intruder feeling to it- like if a stranger was left alone in your house to go thru all your private and embarrassing secrets.  A heavy burden - I question how much of some ones personal life do you reveal and why?  Harris says he is looking at the relationship between technology and youth. I think I just want to know my daughter better. At times she is a mystery to me, at other times I wonder if I am “ruining her”. Either way children are interesting- they are mini reflections and mutations- a wellspring for parental guilt.

Both projects record the trappings of culture and ultimately technology. Harris shows us his son’s behavior in contrast to his surroundings, such as in nature, in social situations, in conflict with analog or older toys and activities. Consistently his son’s behavior is both fixated on his game boy and isolated from his surroundings and other people. A shift from more group related interaction towards isolated or mediated interaction is a reflection of modern technology and the onslaught of personal computers, cell phones and hand held games.  Harris foreshadows this in many of his images- specifically an image of his son standing in the center of a home theatre sales department, surrounding by big screen tvs- still totally consumed by his game boy. Similarly I am analyzing objects and their juxtapositions to other objects and marking categories of natural vs. man made, analog vs. digital, adolescent vs. pre teen (aka tween) almost subconsciously. Immediately I want to understand each object and their origins, use or purpose, if there is any meaning or sentiment attached to it. Also I am subconsciously comparing my own childhood experience and mental inventory of belongings at that time. Technology and access to technology is the biggest difference. As a cultural marker I make note of the several electronics present.

Critique of an Image from CCP

Formally the main subject is dead center in the image with leading diagonal lines on both left and right sides- highlighting a super thin female figure in the center. Complimenting vertical lines repeat throughout the image- again accentuating the vertical figure in the center; all slightly slanted and pointing towards the weight scale and the bottom center of the image. Depth is created in a tiered system, going back farther into the image in steps, or layers. With a small figure followed by two larger ones. Emphasis is given to the figures in the very back of the image by their framing in the door way and light streaming in from behind them. The quality of light picks up both daylight from side windows and light bulbs from the side vanity; it is a warm and realistic feel. The ambient light gives a feeling of being in the same space- the camera disappears and brings us into the scene. I am drawn to the parents in the background of the image, overseeing the weighing-in of their daughter. It gives the impression of grooming and planning a young girl for marriage or to be paraded like a trophy. There is special emphasis on the weight scale with it being in the center of the image with repeating vertical lines pointing towards it. Also all eyes and attention are focused on the scale as well. My eye immediately travels from the dark parents in the background, down towards the scale, upwards along the thin legs of the girl and back down again in the direction of her necklace. Also what grabs my attention is the all black clothing of the central figure. Her outfit looks appropriate for a funeral, making connections to the dark side of beauty and image as well as the health implications behind anorexia. Ideas of body image, fitting in, bullying, materialism and media messages are common themes in Greenfield's work. Body image, fitting in, and the effects of main stream media come through in this image. The subject is the relationship between young women and how they perceive themselves in relation to contemporary fashion and beauty. It is about self esteem and how it is effected by outside elements such as peers, authority figures, culture and media. The mood of the image feels a bit ominous- like when things happen in slow motion. You know they are bad, but your not sure how to stop them from happening. The image addresses the need to change the current cultural obsession of narcissism and idealization of females. I think the artist created this work to show the psychological shifters taking place that relate directly to the output of media, fashion and materialism in current culture. Images like this show small insights to personal moments- often regarded as normal- but are key to understanding how social influencers effect young girls. This idea relates directly to my current documentary project of looking at the personal space and possessions of a young girl and how they might give insight to how a person is shaped and what they are influenced by. I am looking at cultural influencers on a macro level, analyzing their meaning in order to gain insight on a transitional period in a young girls life.

Assignment #3

Small Assignment Three: A Picture Worth A Thousand Words
You will have spent the past week shooting photographs - from within 15 feet of your subjects and from their fronts - that tell stories. You will submit the one best photo from the week. You should not have to explain the photo to us. If we can't look at the image and get it, the photo has failed. Remember, the only things a still photograph brings to a viewer are those things that are visible - what you heard, felt, thought, smelled, or cared about when you took the photo are meaningless if they are not conveyed by the light captured in a fraction of a second when your shutter is open.

War Photographer

War Photographer, about James Nachtwey, was visually striking and not surprisingly full of emotion. The closeness Nachtwey has with his subjects; not just the physical proximity, but also the level of understanding, respect and acceptance exchanged between them grabbed me. At times he was so close, almost too close for comfort. Images of grieving women; right in their faces; their personal space breached and all thoughts of social rules concerning death forgotten. He became part of the inner circle, part of the people who had lost, part of the suffering. Images of the Indonesian family living between railroad tracks- photographed from what seemed almost right on top of them; so close I could imagine the rushing wind of the train, I could feel the anxiety of being hit by a flying object, about the overwhelming sense of being powerless in the world. Nachtwey’s closeness made me really look, made me feel the situation, he allows us to share the experience by getting close to the issue- close to the pain, tears and cries.

It was interesting to see how Nachtwey gained access and acceptance to those he photographed. He described being welcomed and wanted into private, chaotic and dangerous spaces. It’s as if the people knew he was there to help, to help tell their stories to the rest of the world. What sets Nachtwey apart is his empathy and respect for those he is photographing. Never shooting with the intent to just “make a living”, but with the goal of “negotiating peace” through photographs. Watching Nachtwey walk into a new situation, give a silent nod or a handshake, a slow steady stride into the heart of the event or situation and to move smoothly amongst the people- as if he was an old family friend called upon- shows an enormous amount of respect Nachtwey has for the people he photographs. Numerous times the film touched on the basis for his acceptance and closeness to people- respect.

I also thought Nachtwey’s description of his choice to be a war photographer was interesting. He says it is his life’s purpose. That he trained all his life to make that decision. After twenty years Nachtwey has collected a massive amount of images from war conflict areas, famine and poverty- along with numerous personal sacrifices- Nachtwey’s life has be dedicated to humanity. Hundreds of thousands of people have seen and been effected by images he captures from all over the world; emotionally connected through his images. The idea of social reform, change or even having the opportunity to see the world in a very specific- eye opening way is invaluable. The stories we are told by the media and politicians are very different than what is really happening out there. The visual impact and immediacy of the images give audiences the chance to react, to call for change, to make peace, to help, to reach out, to make a difference.

When I think about Nachtwey and his life’s work, I feel compelled to reach out and touch humanity in a meaningful and considerate way like his images do. I want to help somehow, to make work that matters. A film like this gives me mixed feelings. On one hand I have hope for humanity, for people who are suffering and for people like me- sitting on our asses, consuming and demanding and being spoiled. I am grateful- for the opportunity to see and be challenged and to care about something other than my small world and myself. But I am also depressed by the film- to see the abundance and overwhelming amount of violence and cruelty- how can I make a difference? How can I make work that matters? How does anything I do compare to the work that photographers like Nachtwey makes in the big scheme of humanity and compassion?

Personal Space as a Diary post #1

I included images from the space assignment as well as images including Mercedes to see how they might fit in to the overall project. I think I am drawn to the creepy ones taken at night while she is sleeping. After watching the War Photographer video I am wondering how I can get closer? Should I go into drawers? Open her diary?