Updated: Jan 31, 2019
As my previous shoot was read as this idea of a future where women robots are taking over, this idea felt empowering. The intense red is used to connote an alert for danger, the figure and hair behind a screen is an attempt to look like a sci-fi scene of a female robot coming to life. By using two lights behind the figure and moving them around it created an strange intense shadow that feels quite intimidating. This was my intention, I particularly like Fig 22 because of the alienated shape that is still feminine yet otherworldly and potentially dangerous. For this is used the Nikon D800 and a 70mm standard for portraits. On the lights I used red gels for the dramatic and intense red.
During this session I made people aware of my new motives to create cyborg women with this idea of a female take-over. This was seen as something violent. It was explained in a way that only a lack of power invokes violence. This certainly made me see my new approach differently, would the project be more powerful in its subtlety or its brashness?
I feel this is dependent on the viewer. One may see brash as brave and the other may see it as weak, an unnecessary attribute. This made me think of Juno Calypsos interview where she says how “men just think she’s a silly woman with a camera” (2017). Calypsos’ work is powerful because of its sense of alienation, she mocks the society (created by men) that leads women into these crazy beauty obsessions and is bold in her opinion.
Do I want to empower women? Or do I want to show the scars left on them by men and what they do to us? Do I want to be bold and furious because I’m angry or subtle and calm in my wisdom? This revelation is encouraging me to re-direct my work back to subtlety, to sensuality and sexuality. Would using sex appeal draw in a male audience? Innocence was where the power of my previous book Pretty Flowers (2018) came, the viewer was seduced under false pretences and without being overtly violent the message was read and understood.