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The Amelia Project Photography has given me the opportunity to explore my child, and the worlds I have dreamed to enter. Decisively photographing my daughter, Amelia, sometimes combining my life-long obsession with animals, has dared me to transform my photography, in concept and presentation. I have sought the intimate, fleeting portraits of animals in my previous projects. My goal continues to be to catch a society of interspecies relationships and their activities - my imaginaryworld come to life. The challenge of photographing animals has taught me that the subject does not define the art. Art is distinctive by how the subject is portrayed.
An artist photographing her child can invite ridicule, but getting personal with my projects has always been my need, my edge. Motherhood is important, adding a new perspective and dimension to my life and work. Amelia is my priority, my muse, my co-conspirator, my tormentor and my bliss. My inspiration now comes from the realm of painting: Velazquez, Sargent, Botticelli, Vermeer and Bastien-Lepage. Working with Amelia as my partner, I am able to go to any time or place.
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This collection of photographs was never intended to be a ries per se. In February of 2009, I flew to California on signment to photograph the iconic white glove of pop star son. Even though I am a lifelong portrait photographer, I had the urge to investigate people through the simplicity facts that make up their lives.
book or a sea magazine asMichael Jackhave always of the arti-
I went to L.A. with one vision in mind and little more than a day to capture it. Michael Jackson’s primary home at Neverland had been vacant for several years and his belongings lay packed and stored in crates, awaiting public auction. When I arrived at the venue for the shoot, I had no idea what I’d find. What I discovered in those crates evoked in me a deep sadness. From the man who would be king, his artifacts were of the simplest design. A sequined tube sock. A child’s trinket. The famous glove – so revealing in its dime store simplicity, so mundane in its plainness. I completed the initial assignment in two days, yet found myself unable to leave. My assistants and I remained on location for another twenty-four hours, poring over more than a thousand items from which we had to choose our images. I returned to New York after three days, with a premonition that the task wasn’t finished.
It seems that an individualâ&#x20AC;&#x2122;s belongings rarely become available without some tragedy as a backdrop. Despite my exhaustive efforts to create a window into Jacksonâ&#x20AC;&#x2122;s private world, the portrait was not complete. I knew there were other objects that had not been made available to be photographed. In April of 2009, I flew back to California. Through perseverance and good fortune, we were granted one last access. This time, when I returned to New York, I had the pieces I needed to complete the story. Shortly thereafter, our investigation became a documentation of a life cut short. It is said that the Pharaohs built tombs to reveal their lives to future generations. Michael Jackson sacrificed his childhood to the calling of his musical gift. Neverland was the pyramid he constructed to a lost childhood. The artifacts captured in this series return us to the Neverland he lost.
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