Object: Affection
This project investigates the physical/psychological condition one experiences through the process of self-objectification. I explore concepts related to the person as object and the photograph as object: the sitter as commodity and the print/media as the vehicle for distribution. In addition, this work illustrates the direct connection between an individuals material possessions and that individual’s personal identity. The model is asked to participate in a photo shoot, and to approach the situation with the intent of making a photograph for a lover, significant other, or an ideal mate. Each sitter is asked to choose his or her wardrobe with the intention of making themselves desirable or sexy. This criterion is open to broad interpretation. The photographs are made in a personal space of their choosing. I am not seeking the idealized, overtly sexual, portrait, but I am looking for imagery that visually examines the emotional state of my sitter. These feelings often manifest in the form of a facial expression or pose, that may assert a sense of vulnerability, a need for confrontation, or an awareness of empowerment. My long-term goal for this project is to study a widely diverse cross-section of people in an effort to understand how age, race, gender, sexual orientation and varying social/economic backgrounds affect a person’s approach and reaction to the process of self-objectification.
A large part of this communication and research takes place via written dialogue with the model. I approach each potential model with an invitational letter, and after the photography session, he or she is asked to write a response to the experience. I also request that they elaborate on why they chose the specific attire and location. I believe that these images, coupled with the written accounts of each model will offer valuable insight into the process of self-objectification.
Inevitably, this project examines the power of the camera and its ability to simultaneously document, confront, and manipulate the intentions of its subjects. I have created this series of photographs using two different camera/film combinations. A series of spontaneous snapshots are made using vintage 126 film cameras. Because the photographs are made in quick succession, this format is well suited to capture the varying physical and psychological states of the sitter in a direct, unpolished manner. Finally, a formal portrait is made using a large format view camera and color slide film. This portrait represents a collaborative effort on the part of both photographer and sitter. The widely held notion that a photograph represents “truth” makes the photographic medium unique, and places tremendous power in the hands of the artist. I am interested in experimenting with the limits of this power, and redefining the boundaries that isolate taboo imagery from those that fit the gauge of social norm.