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Once the head and face of the model are included in the image, the projection becomes a virtual hyper-garment. Inspired by Alexander McQueen’s innovative and even outlandish use of materials to adorn women’s bodies, I have gone even farther in virtuality, using even more unlikely materials for garments. If McQueen can use razor clam shells, I use an Icelandic saga manuscript, or the baroque flourishes in a Swiss cathedral, or its organ, or an illusionist leaf-filled antique gutter. The object photographed — a manuscript, a baroque organ, etc. — is mapped by the body, taking on its topography, cutting it down to human scale, so in a sense domesticating it. These virtual hyper-garment combinations play upon the ambiguity between nudity and drapery, veiling the erotic charge of the female nude in an otherwise unrelated object. The ambiguity becomes another, perhaps more ironic way of surrounding the body in mystery, thus fueling that charge. |
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Contemporary Baroque 2012 Digital Photography 20x30
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The architectural detail is from a cathedral in St. Gallen, Switzerland. |
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Organ Stripes
2012
Digital Photography
20x30
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Homage to Yves Tanguy 2012 Digital Photography 20x30
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A detail of a painting by Yves Tanguy becomes an erotic garment. |
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Faces
2012
Digital Photography
20x30
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Scales.2
2012
Digital Photography
20x30
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Plasmatic Vortex 2012 Digital Photography 20x30
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Using a detail from the chemical art of Caleb Chaland to cover most of the model's body, the spiral casts a semi-mystical connotation on the near breast, while the far one is bathed in color. |
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