There is that one question which keeps coming back every now and then in the photographic society - is the manipulated photograph still a photograph?
Recently I have started to work in mixed media once again. I am interested in transformation of pictured subject in terms of identity and place by use of embroidery, water and paint.
Inspired by the body of work of Melissa Zexter I have embroidered the photographs which I made during the last two years. I did not plan the way in which I want the final object to look like but instead I allowed myself to react to the photograph on the spot.
I have embroidered the photograph with thread as well as I have scratched the lower part of the surface with a needle to remove the ink.
The photograph was a base for those objects but is the thread and the scratches removing the affiliation to the photography medium or adding to it thus creating a new medium?
Also, what is the difference between embroidered photograph and a photograph of a embroidered photograph?
I have recently visited Newborough Beach located on Isle of Angelsey, North Wales. The view of the sunset over the Snowdonia National Park was stunning. Especially that I have never seen the seaside and mountainscape in one place in person. It makes me want to incorporate in my body of work not only the mountain landscape but also the seaside elements.
During the making of a photograph I very much enjoy the layers - whether that be a layer of water, a layer of sand or a layer of mountains.
Recently I started a new photographic project based on the connection of landscape photography and fine art nudes. It is a visual interpretation of Stoics concept of logos, being the active reason pervading and animating the universe. As Gregory Hays writes in Introduction to Marcus Aurelius’ ‘Meditations’: ‘Logos operates both in individuals and in the universe as a whole. In individuals, it is the faculty of reason. On a cosmic level, it is the rational principle that governs the organisation of the universe. In this sense, it is synonymous with “nature”, “Providence”, or “God”.’ (Marcus Aurelius Emperor of Rome, Hays and Aurelius, 2003). I am especially interested in Marcus Aurelius’ interpretation of the abstraction, as he sees logos as an order which permeates existence hence the life, both human an inanimate objects, begin with logos and return to them after death. It places naked human body, as seen during the labour, as perfect integration with nature. My intention is to place a model, which does not conform to the modern cultural norms by wearing clothes, in the landscape scene. Removing the clothes eliminates denotations of the photograph and does not provide the opportunity to identify the subject. Naked body and hidden face of the model introduces the sense of collective identity and enables the viewer to identify with the subject. I aspire to create a series of photographs which could be viewed as coexistence between a person and nature, creating complementary whole, and also relating to the ancient philosophical movement of Stoicism. I also aim to encourage the audience to familiarize with different viewpoints.