Richard and Action Man would like to wish you a happy and creative new year, and year ahead.
The stitching will be done in a manner that uses shape and colour to emphasise the emotional expression.
Maurizio Anzeri (1969)
Fig. 1. Bernard (left) and Georgio (right)
Some of the most complex embroidery on photography that I’ve seen, I can’t help but admire the attention to detail and complexity.
- Colour can be used to highlight character, as can shape
- Bernard has some smooth, peaceful joy to counter elements of mania, business and disjointed thought
- Georgio is serious, effeminate, passionate and positive
Fig. 2. Louise B
- Louise is complex
- Likes order
- Sees everything
- An active intelligent mind
- Outwardly feminine but internally rigid
Fig. 3. Nadia
I find this to be a deeply emotional and sad photo. There is pain etched upon her face through the burgundy’s that permeate the gentleness and light of the pinks and whites. Those downward looking eyes with the black embroidery which follows her gaze, suggests a deep sense of sadness and loss.
Fig. 4. Peter
Perhaps a person with no sense of identity who lives in a complex state of psychotic delusion. He has a brain which is set to combust and explode, with an overload of neural connections. But also an introvert and unable to express his ideas.
Embroidering on top of a portrait can add a depth of characterisation. This can be done by using colour and shape, and with the right level of technical expertise, an artist can bring out different aspects of an individuals personality.
Anzeri’s art is phenomenal and he is a technical expert. I’m going to have to rewatch the following you tube tutorial to gain some tips.
Figure 1 Anzeri, M; Bernard and Georgio [thread on photograph]; AT: https://www.lomography.com/magazine/91702-maurizio-anzeris-embroidered-photography (accessed on 30/12/2018)
Figure 2 Anzeri, M; Louise B [thread on photograph]; AT: https://www.lomography.com/magazine/91702-maurizio-anzeris-embroidered-photography (accessed on 30/12/2018)
Figure 3 Anzeri, M; Nadia [thread on photograph]; AT: https://www.lomography.com/magazine/91702-maurizio-anzeris-embroidered-photography (accessed on 30/12/2018)
Figure 4 Anzeri, M; Peter [thread on photograph]; AT: https://www.lomography.com/magazine/91702-maurizio-anzeris-embroidered-photography (accessed on 30/12/2018)
A precious gift that I recieved for Christmas, from a dear friend, was a subscription to an Annie Leibovitz Masterclass.
Masterclass is an app that provides master-classes by people who are world renowned in their field, it can be optained on Google Play Store and the Apple Store.
There are a few points that I’m taking away. Which I’ll bullet point below. But the most interesting point was a question one of her students asked. It was raised in relation to to photo-journalism, but I think it applies to all genres of photography. “Where is the line?” I photographed an act of self harm for part four of my coursework and in assignment four, and it was necessary for me to question was my photography relevant, necessary and provided in context. Ultimately this is a personal question and each photographers answer is subjective. It’s of note that Leibovitz says this question is ongoing for photographers.
- You cannot capture an individual with one photo
- To capture different aspects of personality more than one photo is required
- It’s beneficial to return to work with an individual in a new setting at a different time (months or years apart
- A series created in such manner reveals more about a person than a single shoot could do
- Take lots of photos and regularly
- It takes years to learn how to see
- Keep photos that you’re not initially drawn too, your perspective may change over time
Right now I’m very pleased with the progress that I’m making. Food is certainly something that I’m enjoying. The obsessive thoughts that I had around food have decreased considerably, but they are certainly intense when my emotions are strong.
The most difficult time over the Christmas period was when shopping the day after I arrived in Cork. I had a shopping list for breakfasts, lunch and snacks, but I found being in a new shop, in a new town and being around so much food was challenging.
Profiterole, cheesecake and Ben and Jerry.
I heavily over-ate one night whilst I was in Cork, and I had a couple of nights where I had a few chocolates. So what! It’s no big deal, and I didn’t go into guilt and shame.
I had several foods I hadn’t eaten for a long time, which included Chinese and Asian street food, ham, tomato and salad sandwiches, a full English and Christmas Dinner.
Singapore special chow mein.
I cooked Christmas Dinner. I love cooking and I was very satisfied with my cooking. Roast lamb, roast beef, sprouts cooked with bacon and pear, honey glazed parsnips, glazed buttered carrots, fluffy roast potatoes and breaded mushroom for starter. I’m very impressed with the progress that I am making.
I cooked this Christmas Roast.
It also feels like my weight has stabilised. I don’t weigh myself, but I don’t think I’m putting on anymore either – which is a relief.
I’m going on holiday to India next year, so I need to be flexible with my eating, and I want to learn to eat according to hunger and fullness. I experience hunger so infrequently. I didn’t feel it at all when I wasn’t eating, so anytime when I feel slightly hungry or slightly full is a time of excitement for me. I’m focusing intently on my stomach and tummy before, during and after eating. I’ve now had two very subtle feelings of fullness. I can’t believe how excited I feel at feeling hungry or full. Life is bizarre.
I can’t believe how wonderful a ham sandwich tastes.
Things are going well. I still get some intense thoughts about eating or restricting, and shopping disturbed me so much that it triggered my neuro-muscular condition, but overall my recovery is going well.
OK, so this is not the greatest idea of a sampler, but it’s been good practice to try out different stitch samples for my fifth assignment. The majority of the artists who stitch over photography tend to use a long stitch, rather than different styles of stitching. And hey, their work is fantastic, so maybe the idea is to keep it simple. However, I like chain stitch and diagonal tent stitch – and I can see how they can be used, and perhaps cross stitch would be good over eyes.
- Blue – herringbone stitch
- Yellow – running stitch
- Orange – Cross stitch
- Pink – Back stitch
- Red – Tent stitch
- Green – Diagonal tent stitch
- Brown – Chain stitch
I recieved the most wonderful and exciting news yesterday. Laura Letinsky responded to my email, giving me permission to use 6 of her photos as the basis of my fifth assignment.
This assignment is exploratory in many ways, and I will use it to develop my embroidery skills, embroidering on top of photography.
Letinsky, in her own words, “cannabalises” her own and others photography. In anorexia the body moves into the metabolic state of catabolism, in which the body eats its own proteins (muscles) in order to survive. One idea is to make use of photographs of my body parts from when I was really ill, justapose them with photos from Letinsky’s I’ll Form and Void Full, and use embroidery to distort the shape of my limbs, picking out cours of the foods from Letinsky’s art.
The other option is to photography my face, capturing different emotional states, embroider over them in the style of Maurizio Anzeri, and justapose these with relevant parts of Letinsky’s art.
I’m not sure how I am going to develop these ideas into a concrete plan as yet, so time for some meditation.
Sadly there is a host of peer-reviewed research which highlight the reality that mental health professionals stigmatise people with mental health problems.
Although this is a disturbing finding, being on the receiving end of it is far worse. I have experienced this as an inpatient, as an outpatient and also in general.
I’m aware of these attitudes, but today I perceived stigmatisation by a former mental health professional. Yes some of my photography is disturbing, yes I’m aware of this, but do I have to hide my lived reality, whether past or present, so as not to offend you? No! My lived experience is real, and as a visual artist I will retain my authenticity, even if you believe it to be attention seeking. It isn’t, but to describe it so only increases the social exclusion that exacerbates mental health problems in the first place.
At some point in the future I will write a photo essay which explores stigmatisation by mental health care and general health care professionals.
Coming to the end of Foundations In Photography with the Open College of the Arts, I find myself in a position in which I want to prepare myself to study for a BA in Photography. Assignment 4 can definitely be the basis for a further body of work, probably by using masks or embroidering on top of photographs to represent aspects of self, especially those hidden repressed aspects. Sewing over the top of my own face was successful, if painful for me to view.
I have thoroughly enjoyed Staged photography and still life, and found a means of being authentic with these genres.
I’m very keen to explore these themes further, and I believe that sewing on a photograph provides an additional means to enhance or hide emotion and mood. It also means that I can distort my images and create harmonious fine art photography or to create visual and emotional discord and discomfort.
I’m going to use assignment 5 as a stepping stone to develop a secondary skill, and so that I can use photos as the basis of mixed media art.