Reflections Dani Collenette
Published in 2012
All Photography and Illustrations by Danielle Amber Collenette
Contents Prologue Reflections Beth Carol Charlie Chloe Dad Daniel George Grandad Kar Lea Mum Myself Nikki Rich Sax Tommy
Prologue This book contains a series of digital montages entitled ‘Reflections’. These montages combine Digital Photography with watercolour Illustrations, and aim to highlight my passion for working within both mediums. The concept behind the theme of reflections is both physical and metaphorical. Physical in its form, as the series of images are all based on a physical reflection. On a metaphorical level, the images demonstrate the concept that an Illustration of a person is only a reflection of them, their physical image and possibly their personality. My aim was to address both concepts within my images. I have chosen a relevant item for each subject to be reflected into, so that the object itself became not only grounds for a physical, but also metaphorical, reflection. I have included either a direct quote from the person, or a reasoning for the reflection beside each image. According to Collins dictionary, one definition of Illustration is ‘an example or demonstration’. My series of images are examples or demonstrations of the person they represent, they are not supposed to be direct copies. Illustration allows for distortion just as a mirror does, and so the two complement each other well. As this is the last body of work I will produce within my Degree, reflecting on my past must play a huge part. While studying my past creations and observing what worked well and what did not, I discovered that my two most developed skills went alongside the two subjects I bore the most passion for, Photography and Illustration. I wanted to present a body of work that shone each in an equal light and that also demonstrated a good use of computer software and photograph manipulation. Over the past two years, I have worked in a small Photographers in Surrey. This has expanded my ability to use photo editing software such as Adobe Photoshop. On a daily basis we are asked to tamper with photographs by removing and adding people, removing crease lines, stains and even children’s scribbles. It could often be said that we take photographs as the truth or evidence, but working in a Photographers has shown me how photographs can mask the truth so well. I have been asked to remove ex-husbands and wives from photographs, so it looks like they were never even there. I have equally been asked to add people to a group who were unable to attend the event where the photograph was taken. In years to come these photographs will be seen and taken as truth, when in fact they are nothing but fictitious Illustrations of the original scene.
However, photograph manipulation is not something that is new to society; it is just that advanced software has made it much more assessable to the everyday person. Photo manipulation dates back to the Commissar Vanishes and falsification of photographs of Stalin’s Russia, carried out during the 1930’s. However the majority of people do regard photographs, including those within my images, as fact, and my Illustrations as fiction. I believe that creates a strong paradox between reality and fiction, just as it does between Photography and Illustration. A contrast which I believe makes each aspect of the overall image work as a standalone piece, as our eyes allow us to see the image as a whole, but also to break it apart. Tim Enthoven, an Illustrator exhibited at this year’s Pick Me Up exhibition at Somerset House, London, enticed me not only by his Illustrations, but also by a quote next to his work. ‘Tim is fascinated by the boundaries between reality and fiction’. Once I had read this, I was able to apply it to his work and could instantly see how his drawings were so technically perfect but still an illustrative reorientation of the initial factual object. The intention of my set of images is to reflect what I have learnt during my last two years of study and to generate a backbone for my future, post-graduation. While creating these pieces, I also intended to develop and demonstrate a clear style which could be seen across my body of work. I wanted to create something that made my work stand out, as I am aware at how competitive both the Illustration and Photography industries are. My style developed from a comment that labeled my Illustrations as childlike, or naïve. I know that within my Illustrations, there is a lot of concentration on the eyes and the skin tones. I am also aware that I almost draw with the paint brush – as opposed to painting with it. At first I saw this as something to steer away from, by trying to change the way in which I painted. I was lucky enough to get a chance to speak with Sarah Beetson at an exhibition in London. I really enjoy her work as it’s not only extremely appealing to look at but I also think that it harbours a lot of meaning and purpose that demonstrates further than the initial image you are presented with. When I spoke to her, I asked how she determined such a clear consistent style. She replied that it is an ‘extension of her personality’, as she is often told she ‘looks like her work’ and told me that if I illustrated in a way that was personal then I would find my style naturally. After speaking with her, I realised that by trying to find a style I was making the situation worse for myself. I was forcing it to happen. And so, I decided to go back to my childlike, naïve, paintings as this is what I did naturally. Whether it was technically right or wrong, it was my style, and for me that is a lot more important. Sometimes the technical imperfections can be what gives a piece its edge.
David Shrigley’s 116 Untitled images, created by using ink on paper, which I viewed at an exhibition of his work at the Hayward Gallery, London, were certainly not what I would define as technically perfect, however there was a certain style that bound them all together. The ironic literal quotes that partnered each image gave them an interesting and humorous edge, even though the images themselves, in my opinion, were not much better than a child’s scribbled drawing. It bares thought that possibly the concept behind his work is what is important. The images presented to the viewer just serve as a way to demonstrate the meaning, and that he leaves the remainder of the image available for interpretation. Another artist whose style I appreciate is Riika Sormunen. She is not only loyal to watercolour, but she also uses flat tones, appears to draw with the paintbrush and also concentrates heavily on the eyes. This often makes them seem larger than in reality and the most noticeable part of the Illustration. I decided to use watercolour as a medium for my work, after much experimentation, as I love its suppleness. It also suits the fact that my images are often construed as childlike, as watercolour itself is also. I love the way watercolour can allow for harsh lines, but also the smoothing over and softness of subtle tones. It is a delicate, non-intrusive and humble medium, and I feel it compliments my Illustrations well. I found a love for watercolour also through both experience, and inspiration of other artists work such as Sarah Maycock and David Sparshott. Although each use watercolour in such a different manner. Maycock in large format, using the watercolour as the main highlight of the image and Sparshott to detail parts of ink drawn illustrations, they both utilize watercolour in such a way it loses some of its bonds to childhood. I also really appreciate Sparshotts portraiture. The harsh ink pen is also something that Beetson spoke of as it allows for your first instinct move and not for the fluffing of pencil lines. This is a medium I would definitely like to develop in the future. A major concern within my work was finding a clear distinction between the Photography and Illustration. Generally, Photographers will see the Illustration, and Illustrators see the photograph, as a distraction from the aspect they should be focusing on. Although I did see how this could be a problem, I saw it more as a hurdle to overcome, than a wall preventing further travel down this path. Work by artists such as Johan Thörniest and Ben Heine, has not only been a huge inspiration for creating my own work but also a reassurance that the hurdle can be jumped and landed safely. I decided the form for my piece was to be bound within a book. When considering books you instantly think of reading them – and that’s exactly what I want people to do, to read my images.
This is why I have also included this text at the beginning of the book, so the reader has the choice of whether to read it at all, and if so, then when and how. A book also allows for each of the images to read together as one book, or separately as individual pages. The audience of this work is extremely varied, I like the fact that different genders, age groups, people of different minds and interests will all have the chance to read my book and decipher their own meaning from it. A book that is comprised of mainly images has no language or age barrier, and so my audience range becomes even more diverse. I wanted to make sure I had a good understanding of the different ways in which I could approach creating portraiture, and so I set about studying ways it had been already been tackled. I first began to look at portraiture throughout history; Painting the Century, a book produced by The National Portrait Gallery, which was a great help at aiding me to see how portraiture had developed and changed from the year 1900 to 2000. I also studied portraiture within photography, studying books such as Face by William A. Ewing. I find visiting Galleries and Exhibitions my most useful research method, as I enjoy being submerged within the work, to see it hung on the wall as a tangible object. An exhibition of Lucian Freuds work held by Blain Southern, I found to be extremely interesting. I enjoyed not only his work, but also the story behind it. I loved how the work changed and developed as time progressed, how he worked so freely between a variety of mediums, his etchings being just as fantastic as his ink and watercolour portraits, and those as brilliant as his acrylic paintings. I really find quotations helpful when researching a particular subject as they give such a concise view. Jorge Molder once stated; My work is over when I have managed to get beyond the mirror. He wanted to create images that were not a direct copy, he wanted to create a reflection, an image that represents them – but is not them. However, of course this is just my reading of his quote. These are some other quotes I found particularly interesting; ‘Why you’ve even stolen my face; you know it and I don’t’ Jean-Paul Sartre, 1944. ‘To make a portrait, it is not enough to reproduce the proportions and forms of the individual with mathematical accuracy; it is also, above all, necessary to understand and represent the intentions of nature manifest in the individual, saving and improving them’ Andre Adolphe Eugene Disderi, 1862 ‘I am visable, I am image’ Jean Baudrillard, 1993
Gillian Wearing created a set of images where the subjects each held a sign. Not only have these images been a great success, currently being exhibited at the Whitechapel Gallery, London, but I also find them extremely interesting myself, both aesthetically and conceptually. With this in mind I also began to photograph people holding a written piece. Directly before I took the photo I would ask them a question such as ‘How are you feeling?’ or ‘Who are you?’, and I told them they were free to write anything they liked. This allowed me to find a link between what they had openly written, and their inner thoughts and feelings. To find a link between what they were comfortable showing, and what they couldn’t help but show in their facial expression. I found this to be a great help when creating my final portraiture images. When both creating and researching portraits I look for emotions, facial expressions and body language. I also looked further than the person the portrait contained, how objects and surrounding affected the overall image, how there are so many aspects that influence the overall perception of the image. I wanted to be able to see into the picture, I wanted to see a story embedded within the image, just as Roland Barthes describes in Camera Lucida, when searching for a photograph of his mother. He talks very deeply and with much detail about the validity of a photograph in his search for a photograph of his mother. He is looking for an image that is not an empty shell, he is looking for what he describes as a; ‘specific photograph which in effect, is never distinguished from its referent (what it represents).’ Barthes discusses the almost. He cannot find his mother within the photographs, just fragments of her, the images are only ‘partially true’ and therefore <totally false>. He describes the images as being dream like in substance, he always dreams of an image of her, but it is never quite her. A statement Barthes makes that possibly relates to a great deal of photographs is: ‘my mother lent herself to the photograph’ again reinstating how she is not actually there. It is in Chapter 28 Barthes finds this photograph, the one he has been searching for: ‘All this had transformed the photographic pose into that untenable paradox which she had nonetheless maintained all her life: the assertion of a gentleness.’ You can almost hear his sigh of relief but equal excitement at finding the photograph he had been looking for, he has finally found an image not of his mother, but that is his mother. ‘For once photography gave me a statement as certain as remembrance’. Barthes relationship with photography up until this point had been disappointing, although I have no doubt about the fact he appreciates the aesthetic qualities photography can present, he was yet to find an image that satisfied him.
An interesting aspect of the text is that the reader is never actually presented with this photograph of his mother. It is interesting to think that every reader will picture it in a different way. For Barthes this image provides him with wholeness. It replaces a very small part of loss we feel when someone close passes away. For me this is a perfect example of how an image can contain so much more than just visual content. This is what I look for within an image, this story, this reasoning for its existence, and this is what I have aimed to reflect within my own work. Elizabeth Peyton entitled her first book of portraiture, ‘Live Forever’. For me the title alone suggests the raw strength of an image, how you cannot un-see something. Her representations of pop stars, historical figures, friends and relatives will live forever as pencil on paper, paint on canvas, bound within a book, and imprinted on the minds of the people who view them. Portraiture has always fascinated me as a person’s face is their main identifier. Working in the Photographers I have taken hundreds of passport photos, hundreds of faces all with two eyes a nose and a mouth, and yet all so extremely different. Each face tells a story. A passport photo is an exact representation of that person, whereas illustrative portraits contain not only input from the model, but also from the artist, and so both are reflected within the final image. When first sketching out a portrait I always consider the parts of the face that make this person recognisable from the crowd. I decide whether it’s the distinct curve in their eyebrow, the height on their mouth, length of their chin, size of their lips and eyes. I decipher their main identifiers from what constructs the general human face. I have aimed to discuss my intentions, the concept and meaning behind the work I have created. To explain why I have decided to create these images, my inspiration and what they mean to me. For me they hold a great deal of significance, It is a reflection of both myself, and my work. I hope you enjoy them.
Dani
Reflections Dani Collenette
Beth Reflection: Kettle 'I love Peppermint Tea'
Carol Reflection: Mirror 'Visiting for March Birthdays'
Charlie Reflection: Mirror 'Getting ready for a night out'
Chloe Reflection: Mirror 'I always see you at uni'
Dad Reflection: Wing Mirror 'Just looking for a fare'
Daniel Reflection: Sunglasses 'The most thoughtful present'
George Reflection: IPhone 'Debating texting my ex'
Grandad Reflection: Mirror 'I pass you every morning'
Kar Reflection: Spoon 'I just love to eat haha!'
Lea Reflection: VHS Tape 'When we were young'
Mum
Reflection: Mirror 'The mirror that my mum gave me'
Myself Reflection: Mirror 'I once read that is you can photograph yourself, you can photograph anything'
Nikki Reflection: Camera lens 'Always snapping away'
Rich Reflection: Mac 'My Mac is like my best friend, I spend more time with it than anyone else'
Sax Reflection: Sunglasses 'Traded my yellow plectrum for a Jagerbomb'
Tommy Reflection: Game Disk 'I love to play XBox'
Reflections Dani Collenette
I would like to say a huge thanks to everyone who has modeled for my Photographs; Carol, Charlie, Chloe, Dad, George, Grandad, Mum, Rich and Tommy, and the Tutors for their input. But a special thanks to my Grandad who has kept me company at all the exhibitions I visited, my Mum and Jon for their huge help with proof reading - and de-comma-ing! My Dad and little brother Tommy for letting me use the computer all the time, no arguments! You've all been a massive help, thanks guys.
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