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Transcript of final
“The portrait- photograph is a closed field of forces. Four image-repertoires intersect
here, oppose and distort each other. In front of the lens, I am at the same time: the
one I think I am, the one I want others to think I am, the one the photographer thinks I
am, and the one he makes use of to exhibit in his art. In other words, a strange action:
I do not stop imitating myself, and because of this, each time I am (or let myself
be) photographed, I invariably suffer from a sensation of inauthenticity, sometimes
of imposture (comparable to certain nightmares). In terms of image-repertoire, the
Photograph (the one I intend) represents that very subtle moment when, to tell
the truth, I am neither subject nor object but a subject who feels he is becoming
an object: I then experience a micro-version of death (of parenthesis): I am truly
becoming a specter.”
Roland Barthes, Camera Lucida (1980)
Documenting life, photographing strangers and
people of my immediate world was a way to
explore the effects of the camera as an instrument.
In the presence of the camera other kinds of
relationships come to end. Not much of what is
captured is real and if it is, it is controlled by other
factors.
In these photography representations my
intentions were to find answers, to use the camera
and photography as a tool to scrutinise people’s
behaviour in the presence of the camera, whether
it is possible to reflect an intimate relationship
in an image, or the other way round. From
the moment that camera comes between the
photographer and the subject the relationship
changes, the roles differ, the camera becomes an
invisible wall.
Stephanie Soteriou
BA (Hons) Fine Arts
Level 3
University of the West of England, 2011