Brief:- Have a close analytical look at the photograph above by Canadian photographer Laura Letinsky. You can see a larger version at http:// thephotographersgallery.org.uk/ill-form-and-void-full There is something immediately uncanny in this photograph and in much of Letinsky’s work. Firstly, notice the planes that make up the background and the area on the lower left of the picture. These ‘surfaces’, on which there are objects, shadows and cut-out pictures of objects, create an odd sense of space. It’s difficult to tell exactly which way gravity is working here. There appears to be a table top seen from the side in the middle of the area on the left, but then there’s another ‘surface’ seen from above too. This plays with our sense of dimensionality, the way we as viewers orient our viewpoint on the scene depicted. The objects themselves are simple, everyday items: two spoons, some fruit and cherry pips. Some of these appear to be ‘real’ in the sense that Letinsky has photographed them herself, whereas others have been cut out of magazines. Notice that these cut-out objects had been photographed from different viewpoints (and in a different time and space), which Letinsky has tried to incorporate into the perspective of her own ‘still life’ scene. The spoon on the left appears to rest on the surface and take part in the scene and the other spoon appears above the surface. How many things in your own life are real in the sense that they are in front of you physically? And how much of what you experience and know comes through representations? How do you think this affects people? In her previous work, Letinsky used left-over meals, plates and cutlery to indicate a scene, event or relationship going on beyond the view of the photograph, turning viewers into detectives looking for clues and connotations. Meticulously placed dishes express something about the thinking of the ‘character’ who placed them. In this work, she extends this by looking at the ways people incorporate representations and collective fantasies into their ‘reality’ and their desire. Have a look at Laura Letinsky’s website lauraletinsky.com. Also look at the still life work Bungled Memories by David Bate at www.davidbate.net. For a seventeenth-century comparison with Letinsky’s work, you can look at the paintings of Pieter Claesz here: rijksmuseum Pieter Claesz Write about the following issues in response to Letinsky’s photograph.
- Visual description (objects & background/space)
- Sense of space or ‘dimensionality’
Fig. 1. Ill Form and Void 12 (2011)
Initial Thoughts – Lots of pleasing space. The whites and greys provide a feel of peace, stillness and serenity. The background surface is smooth and has the feel of a photographer’s gallery backdrop. There are three other planes, a vertical line which is slightly diagonal, intersecting with a horizontal line that slopes down towards it, creating a neutral space to the lower left of the picture. Then there appears to be a formica-like surface, which is reflective, and the subjects appear to be resting upon this, and then within that plane there is also the surface of a table which has a table-cloth over it. A spoon with crimson petals rests upon the table-cloth upon the left hand side, and on the right there is a half cut out shape of a plate, and then a whole plate with what appears to be some food remains. A second spoon, perhaps with sugar in it, floats above the table, and two pieces of fruit appear to be both on the table-cloth and yet not on it at the same time. The cherry pips and stalks begin on the formica-like surface and flow down onto the neutral space at the bottom left of the photo. At first glance, the way the planes intersect make the image appear to have horizontal and vertical surfaces, suggesting an upright structure. However, the more of see of this photo, the more that I think that it has been photographed from above, and that all of the objects have been cut from a magazine and placed upon the background. If this were the case then the shadows which appear in the area of light would have had to have been created in post processing.
There is an optical illusion within this photo, which makes it appear to be something which it is not. It has the suggestion of being a scene which was photographed, but is probably a collage, which has then been shot with a camera and developed digitally. I find this to be a clever piece of art, and one that I find enjoyable to look at.
As someone who has grown up with an idea of what still life is, from more traditional compositions, this drastically broadens my horizons, thank god. Letinsky’s composition is completely constructed and the only objects which I can see are pictures which have been cut from magazines, and placed by her onto a paper surface. I’m really impressed.
I have taken a look at other photos from this series (on her website – see references), and I only wish to add that I find this series to be beautiful.
Fig. 2. Bungled Memories 01 (2009)
The above photo by David Bate is taken from his series Bungled Memories, in which he breaks every day objects. In their broken form these would be discarded, however, he photographs them and then uses them to create new works of art. On his website he discusses this series in relation to the psychology of “Freudian slips” (DavidBate.net)
I don’t get what he is trying to say with that description. The only thing that I can put in psychological terms is that by creating photos in which the breaks of the subject are completely smooth, almost perfect, and using backgrounds which creates boxes, is that we refine, define, clarify and compartmentalise our memories of events in a style which suits our internal frame of reference, rather than as literal representations of facts.
Fig. 3. stilliven met kalkoenpastei (Still Life with a Turkey Pie) (1627)
This is a more traditional still life in which the objects are painted in a manner that is a visual representation of “what was there”. There is no attempt to make the viewer think, no attempt to deceive or play tricks with the mind, and no attempt to ask the viewer to consider that there may be a representation of something un-seen. There is a clear sign of wealth and opulence, but this is also a clear visual representation.
I find it quite interesting that the art world at the end of the 19th century and beginning of the 20th had a debate about how photography was just a mechanical description of what was there. I have always held the belief that the majority of traditional art did just that by using an alternate recording device – the paint brush. Here the photography of Letinsky and Bate take the viewer on a journey through the abstract and challenge the viewer to keep looking and questioning. Bathes was wrong. Art captures what was there, photography invites, questions and challenges (OK, so art and photography can both be factual documentations or original works that invite thought).
Figure 1 Letinsky, L; 2011; Ill Form and Void [Archival Ink Print on Paper]; AT: http://time.com/52027/pictures-of-pictures-the-ambiguities-of-laura-letinsky/ (accessed on 26/09/2018)
Figure 2 Bate, D; 2009; Bungled Memories 01 ; AT: http://www.davidbate.net/ARTWORKS/BUNGLED-MEMORIES.html?pic=96 (accessed on 26/09/2018)
Figure 3 Claesz, P; 1627; stilliven met kalkoenpastei [Oil on panel]; AT: https://www.rijksmuseum.nl/nl/zoeken/objecten?q=Pieter+Claesz&p=1&ps=12&st=Objects&ii=1#/SK-A-4646,1 (accessed on 26/09/2018)
http://www.davidbate.net/ARTWORKS/BUNGLED-MEMORIES.html?pic=120 (accessed on 26/09/2018)