Trying to make the hair & body look like they are one…, not resolved it yet!
A different approach
What’s inside a wig???
I’ve always been interested in the idea of artistic ‘interruptions’ or disruptions but not really found the right framework to explore this within my own work. However, I’ve recently been able to access an archive of about 60 years worth of Vogue magazine and I’m determined to find some way to work with it (there are limitations, I can’t remove any of it, and proper copying is a problem).
This is my first attempt – a rough and ready gif – made from low res iPad images of all the legs in the March 1964 issue of French Vogue. I’m not sure yet if I’m going to continue this approach -or, how I’m interrupting or disrupting the archive, but this article on digital disruptions and gifs is giving me some food for thought…
All the Legs in French Vogue March 1964 (version 1)
I’m selling these for £3.50 (inc. postage), they are hand made, laser printed on Munken paper. There are only 45, I won’t be making more. Email me at firstname.lastname@example.org for more info.
I’ve been enjoying some studio time this summer, with the Manchester Contemporary exhibition looming I thought I’d keep playing with these collages – just to see how far I could take the idea. I’m quite happy with these – and I hope to exhibit some of them at Manchester Contemporary and the London Art Fair.
New work made as part of the Tracing Paper scheme at Paper Gallery. Finished at last!
My new works, Penetralia and Furl build on my previous project Wigs; but rather than explore narrative and symbolic associations around the posed wig, I have chosen to investigate the wig’s suggestive possibilities in their disembodied state. Wigs are intended to be worn on the body, and through the body’s surfaces, they are easily subsumed into the wearer’s identity. But a disembodied wig has to acquire its identity and presence through its own means: its interior and exterior become interchangeable – suggesting new possibilities for interpretation.
For both series, I have manipulated and photographed wigs in order to draw attention to their oddness, whilst maintaining some allusions to their previous feminising function. By cutting through the resulting photographs I am literally opening up the wig in order to create playful relationships between interior and exterior, as well as suggest different spaces where new meanings can be explored. As fragile paper experiments, they hint at the delicate nature of femininity as a masquerade, and offer glimpses of the surreal and uncanny in otherwise everyday objects.