Peer Research Task By Sacha Stevenson
I'm looking into recycling clothing. My idea is to focus on clothing from charity shops and using it to create new clothes that I'm gonna put a model in, so my final image will be a fashion portrait.
Who would you look at and what ideas can you take from those photographers/artists in order to structure the project?
Dan Treacy.
In this series of work, Treacy uses abandoned clothing to construct eerie suits, which he then wears in his life-sized portraits to become Them. Dressing up in the suits for the final portraits, Treacy appears faceless and enveloped, both threatening and vulnerable. Looming out of the black background the figures could be urban warriors or mythical beasts. The effect of these photographs is haunting and uncertain. The processes in this work add new layers and meanings to the idea of the self-portrait.
You could either use secondhand clothing from charity shops or recycling centres to create this 'eerie' models or you could make it more personal to yourself by using old clothing from your wardrobe (Ida Taavitsainen) to add depth to the images.
Ida Taavitsainen.
The background behind this series of photographs comes from the relationship between clothes and memory. The majority of the clothes used have been handed down through generations within the photographers family and therefore became interested in the stories behind the garments.
The research behind this project was sourced from interviewing the old owners of the clothing, gathering the stories of the use of the garment and how it has ended up in the same household generations after it was first bought. By not using models to dress the garments allows the thought of the absence of the previous owners of the clothing allowing the viewer to think about the stories that have come from each garment.
Jeannette Montgomery Barron.
Again, this is similar to the previous photographer Ida Taavitsaineen in the way that the clothing has memories and history behind it creating an in-depth and strong feeling about the images.
In My Mother's Clothes, Barron creates a poignant and enduring portrait of her late mother through still life images of her cherished clothing, shoes, and personal possessions. As her mother's struggle with Alzheimer's progressed, robbing her of any remembered past, Montgomery Barron began this unique visual album as a way of both sparking her mother's memories, and coping with her own sense of loss. Poetic, riveting, elegant, My Mother's Clothes is part fashion diary, part personal memoir, part loving memorial, and part life celebration.
Miyako Isuichi.
This powerful exhibition features 48 photographs by Ishiuchi Miyako of clothing and accessories left behind be victims of the 1945 atomic bomb at Hiroshima. Unlike the black-and-white images most often associated with Hiroshima, showing devastated landscapes emptied of humanity, Ishiuchi's colour photographs represent her own deeply personal, intimate encounters with the everyday objects that, unlike the people whim the once belonged, continue to exist in the present. These images create a shock factor about them as the clothing photographed is of those who have died in a tragic event. This provides a powerful story to the pictures and possibly allows the viewer to relate to the images if they were somewhat involved or effected by Hiroshima.
David Zimmerman.
His project Last Refuge, in which he photographed piles of clothing and remains from an off-the-grid community. As the economy took its toll on broad swaths of American life, Zimmerman increasingly saw groups of people who had either lost their jobs or houses, and were, as the photographer describes, “increasingly desperate to survive.” These aren’t drifters who might be expected to live a transient lifestyle, he says, but teachers, firefighters, musicians and other blue and white-collar professionals.
In my opinion the images taken should represent the story behind the clothing whether it be from a loss within the family (Jeannette Montgomery Barron) or from a personal experience. The clothing should be that of importance and significance to the photographer to make the story behind the image stronger and more interesting to the viewer.
I would personal shoot the clothing using a medium or large format camera using colour film to obtain full detail of the clothing and shoot it in an environment or location, rather than a studio based image, so that it also relates either to the story behind the clothing or of importance to the photographer, perhaps their childhood bedroom for example if that were to fit the concept. I would play with natural light for the shoot as I feel it would give a nicer effect on the material using a wide angle lens so that the viewer can see the location to the full explaining more about the story behind the image.
To continue the progression of the project I would look further into the specific photographer(s) or artist(s) that have inspired the concept behind the images to gain a greater understanding of why and how they took there images and gather the relevant items you wish to photographer to begin planning where and how you are going to hang the garments.
Who would you look at and what ideas can you take from those photographers/artists in order to structure the project?
Dan Treacy.
In this series of work, Treacy uses abandoned clothing to construct eerie suits, which he then wears in his life-sized portraits to become Them. Dressing up in the suits for the final portraits, Treacy appears faceless and enveloped, both threatening and vulnerable. Looming out of the black background the figures could be urban warriors or mythical beasts. The effect of these photographs is haunting and uncertain. The processes in this work add new layers and meanings to the idea of the self-portrait.
You could either use secondhand clothing from charity shops or recycling centres to create this 'eerie' models or you could make it more personal to yourself by using old clothing from your wardrobe (Ida Taavitsainen) to add depth to the images.
Ida Taavitsainen.
The research behind this project was sourced from interviewing the old owners of the clothing, gathering the stories of the use of the garment and how it has ended up in the same household generations after it was first bought. By not using models to dress the garments allows the thought of the absence of the previous owners of the clothing allowing the viewer to think about the stories that have come from each garment.
Jeannette Montgomery Barron.
Again, this is similar to the previous photographer Ida Taavitsaineen in the way that the clothing has memories and history behind it creating an in-depth and strong feeling about the images.
In My Mother's Clothes, Barron creates a poignant and enduring portrait of her late mother through still life images of her cherished clothing, shoes, and personal possessions. As her mother's struggle with Alzheimer's progressed, robbing her of any remembered past, Montgomery Barron began this unique visual album as a way of both sparking her mother's memories, and coping with her own sense of loss. Poetic, riveting, elegant, My Mother's Clothes is part fashion diary, part personal memoir, part loving memorial, and part life celebration.
Miyako Isuichi.
David Zimmerman.
His project Last Refuge, in which he photographed piles of clothing and remains from an off-the-grid community. As the economy took its toll on broad swaths of American life, Zimmerman increasingly saw groups of people who had either lost their jobs or houses, and were, as the photographer describes, “increasingly desperate to survive.” These aren’t drifters who might be expected to live a transient lifestyle, he says, but teachers, firefighters, musicians and other blue and white-collar professionals.
In my opinion the images taken should represent the story behind the clothing whether it be from a loss within the family (Jeannette Montgomery Barron) or from a personal experience. The clothing should be that of importance and significance to the photographer to make the story behind the image stronger and more interesting to the viewer.
I would personal shoot the clothing using a medium or large format camera using colour film to obtain full detail of the clothing and shoot it in an environment or location, rather than a studio based image, so that it also relates either to the story behind the clothing or of importance to the photographer, perhaps their childhood bedroom for example if that were to fit the concept. I would play with natural light for the shoot as I feel it would give a nicer effect on the material using a wide angle lens so that the viewer can see the location to the full explaining more about the story behind the image.
To continue the progression of the project I would look further into the specific photographer(s) or artist(s) that have inspired the concept behind the images to gain a greater understanding of why and how they took there images and gather the relevant items you wish to photographer to begin planning where and how you are going to hang the garments.
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