Juno Calypso: The Honeymoon Suite

Golden Thread Gallery, Belfast

© Juno Calypso

The Honeymoon Suite is a collection of work by British photographer Juno Calypso. The artist uses self portraits and created realities to explore gender and the pressures on women about beauty and appearance. this exhibition that was based around her Honeymoon suite work, also had a range of her work from other projects. Using her self as the subject of the work she creates elaborate and visually engaging scenes often using panels shades and challenging colour contrasts.

Posing as a travel blogger she visited a couples only Honeymoon Hotel in Pennsylvania, to access one of the lurid coloured  and very kitsch honeymoon suites to make some work. Upon arrival and suprised  that she was on her own ( it is a honeymoon location) her tale of being a travel blogger got her access to all the rooms at the hotel. This exhibitions shows that work. Using wigs and costume she created tableau scenes that are thought provoking and at times very strange.

© Juno Calypso

This work builds on earlier work were she created an imaginary alter ego ‘Joyce’, whom she has used to, what the gallery exhibition guide described as:

‘reenact the private underlife of a women consumed by the laboured construct of femininity’

Reading about Calypso’s work online it is clear that she explores societal expectations  of women, the role and power of the beauty industry and also the simultaneously comic and tragic in the every day. Influenced by the painstaking preparation that Geoff Wall under takes in his work, there is a complex and well prepared tableau in all the Honeymoon Suite images.

© Juno Calypso

Some of the strange images such as the one at the top of this blog post offer insight into her core theme of women and the expectations of society. Doing eBay searches for ‘beauty’, in the technology section of the auction website, led her to finding a whole range of devices sold to ‘make you look younger ‘or ‘more beautiful’, or so the marketing goes. As part of her tableau approach she uses costume, wigs, location and these strange devices to present a stark message about the inherent absurdity in how some parts of scoria, the media and commerce treat women. This is powerful work that also uses humour engage the viewer to want to see more.

What did I learn from this exhibit and the artists work?

The work very much chimed with part of of Context and Narrative and the notion of “making it up” to tell a wider story.

The work and the youtube videos by the artist gave me some real insight into the notion of ‘personal voice’. there is a clear mission and purpose to Calypso’ work and whether you like it or not her carefully planned and executed created scenes offered me some real insight into a photographer using a clearly defined theme ad the engine of their creative endeavours. Looking at her growing body of work  I could also see how she further refines and develops ideas from an initial starting point around the

Calypso arrives at a location with camera, lighting and propose and experiments until she achieves the look she is trying to achieve. the idea of experiment rather than sharp design in advance was very helpful as a concept while trying to complete assignment 5!

References

The Honeymoon Suite – Gallery Guide, Golden Thread Gallery, Belfast

Juno Calypso: http://www.youtube.com/watch?v=OmnedKsopaM (Accessed June 2017)

Bouquet, E. (2016) Juno Calypso: Return to the Love Hotel found at: www.port-magazine.com/art-photography/juno-return-to-the-love-hotel/ (Accessed June 2017)

 

Belfast Photo Festival – Off Theme

St. Annes Square – A  journey through Assad’s Syria

Syria, January 2017 – Destroyed street alley in East Aleppo. Residents who have returned to the streets. A child and his mother search a beauty shop for nail polish. ©Christian Werner

Christan Werner’s ‘A journey through Assad’s Syria’ was for me the most hard hitting work I saw throughout the whole Photo Festival. There were only six images by Werner, a German photojournalist and filmmaker, but all were gripping and at the same time full of dread. Making work in Syria’s second city Allepo, his camera offers us a glimpse into the true terror for ordinary citizens trying to find a way through the hell they must have experienced. What struck me most was that he used signifiers that in someway were so mundane but in the context of the terrible conditions for the people of Allepo these simple signifiers take on true terror as the signified.

His portrayal of people trying to go about a life that in anything but normal created a sense of helplessness to my western sensibilities. Reading about Werner after seeing the six   20×16 images he had on display in St. Annes Square, I learned that he had at an early age been influenced by the conflict photographer James Natchwey. Quoting Natchwey in the video clip referenced below, Werner describes his desire , like Natchwey to ‘tell stories that otherwise wouldn’t be heard. This work at Belfast Photo Festival certainly achieves that goal.

Werners images for this exhibit were taken from a wider set of work called Rubble and Delusion. These can be seen here:

http://www.werner-photography.com/albums/rubble-and-delusion/

References

Christian Werner – World Press Photo Interview – Found at: http://www.worldpressphoto.org/people/christian-werner (Accessed June 2017)

Viktoria Sorochinski – Lands of No Return

© Viktoria Sorochinski

Tableaux images have been a theme throughout part five of the course and I have been looking for examples beyond the references in the course materials. In the July edition of the BJP there is a short article about an ongoing work by Viktoria Sorochinski, entitled ‘Lands of No Return’.

Focusing on her home country of Ukraine, this project explores the remaining authentic villages in the rural parts of the country, often now only inhabited by the elderly. There is a tangible sense of something passing in this very engaging and evocative set of images and Sorochinski uses a mix of formal portraits , informal portraits and still life scenes to provide a narrative setting out the circumstances  around these dwindling communities. there is an extra poignancy given the current political tensions between Russia and the Ukraine.

© Viktoria Sorochinski

What particularly interested me was the framing and content of the still life images and the square format the artist had chosen. I am sure whether these are staged still life scenes or items in the village houses as the artist found them. Irrespective of the background to these images it is the still life work that reveals something about a way of life that is passing, a simplicity probably not enjoyed by those that have moved to the cities.

© Viktoria Sorochinski

It is also perhaps the interplay between the formal and informal portraits that anchors this work and the light it shines onto a fading way of life that once existed across Europe that is now being taken over by a way of life in which the occupants of these marginal and elderly inhabitants have no place. The work is capturing history before it is lost.

This work has given me much to think about in how to order images to create a narrative that describes more than that written of the faces of the subject so the work.

References

Projects : Viktoria Sorchinski i:  British Journal of Photography Issue 7861, July 2017

Viktoria Sorchinski Lands of No Return, found at: http://www.viktoria-sorochinski.com (Accessed June2017)

Clear of People -Michal Iwanoski

I pre-ordered this photobook by Michal Iwanowski at its design stage, long before the printed artefact came into being.

Having heard Iwanoski speak at the OCA Landscape Symposium last year I was drawn not only to the final prints in this work, but more importantly to the rationale and artistic intent that underpinned the work. Landscape as a repository of history and memory is a theme I am developing in my own practice and Iwanowski has created a visually evocative work that to my eyes encodes two individuals epic journey in a desolate and hostile landscape, littered with ghosts of a recent and troubled past.

© Michal Iwanowski

Clear of people records in pictures, the re-enactment and I choose this words carefully, of an epic journey made by two of the artists relations, his grandfather Tolek and Uncle, Wiktor. In 1945 they escaped from a soviet concentration camp in Kaluga and the two brothers made an epic 2200km walk back to their home town of Wroclaw in Poland. passing through several states they risked capture and worse very day o the three month odyssey. 

The brothers walked at night to minis the risk of being seen, using remote and cross country routes avoiding settlements so the they did’t encounter  people who might see them and report them to the authorities. This would have led to the return to incarceration or worse. Their journey must have been fraught with danger. There is nothing about this journey that is ordinary or easy. It is a concrete example of the triumph of the spirit over adversity. That spirit driven by notions of love, family, home and belonging. Interestingly like many war time exploits

© Michal Iwanowski

Seventy years latter using a hand drawn map with notes given to Iwanowski by his uncle, he re-enacted the journey. Again avoiding people and travel through a landscape that still held close to the past Iwanowski has created a visual record of his version of the Tolek and WiKtors journey. He was questioned by Russian police during the journey and also felt the sense of isolation and challenge is uncle and grandfather must have felt, although he was not under the same pressure thy must have been. he also allowed himself the luxury of hotel accommodation. This doesn’t detract from the body of work he has created however.

The images in the book are haunting, some with a hint of foreboding, I have been trying to decode the elements of the images that give me a sense of foreboding, because this is a powerful tool to develop in my own work. In part it is the interplay between the text and the image. Iwanowski sets a clear and detailed scene and context for the work, so having read his introduction I know I am seeing the work through his re-0enectment of his relative’s journey. I choose the word re-enactment carefully because the artists sets out in his text how he tried to recreate some of the conditions NN and BB experienced.

The landscapes are a mix of sweeping vista’s desolate roads and ominous forests. Images of distant houses some ruined and others far away but just close enough to make out lights and humanity create a tension about Tolek and Victors quest for home, but threat of discovery and its consequences never being far away. Natural and man-made obstacles add to sense of the challenge of the journey. From quite a mixed collection of images there is a coherence created by the sense of a lonely and dangerous journey.

© Michal Iwanowski

The book itself which was delayed in production is a simple but visually beautiful artefact. its simple card cover and ‘lay flat’ binding contains subdued colour prints. All rectangular images. some time a small image set against the background of a white tow page spread, other pages contact full spread landscape images that fill the pages.  Near the end of the volumes there are very nicely copied archival images, family photographs of Wictor and Tolek before the war, letters, notes from the backs of photos and official documents. set against this is the sort of their family and the the journey. this is a piece of living oral history committed to pare in the life time of one of the travellers. The overall effect of this section of the book is simultaneously, melancholic , a hymn to a lost generation, but also deeply uplifting in the triumph of their spirit and tenacity to overcome the circumstances they found themselves in.

I am smitten by this work!

This is a work I will continue to return to in my own quest to improve my personal practice and find that elusive personal voice.

References

Iwanowski, M. (2016) Clear of People, Brave Books, Berlin

Clear of People: found at: https://www.youtube.com/watch?v=0_lBUl-3454 (Accessed May 2017)