回歸母體的空間想像–論Francesca Woodman的自拍攝影
and Sloan (1976), of her friend Sloan Rankin balancing to ‘hold’ a white dot painted on a concrete wall – appear to have been taken with little preparation yet give rise to particularly memorable and poetic images that go beyond language.
转自 http://www.studio-international.co.uk/photo/woodman.asp
Woodman’s subject matter was primarily the body and space and she often used the frame of the photograph as a space in which bodies could pose, move and perform alongside carefully selected props. The artist’s approach to photography inverted its usual documentary application; instead she used the camera as a way of creating temporary scenes and spaces and bringing about the transformation of objects, surfaces and movement. As Townsend says: “with Woodman’s art the medium that is most concerned with showing us what is indisputably there becomes preoccupied with hesitation, with uncertainty, with displacement of forms”.
woodman的题材主要是身体和空间,她经常用身体可以摆姿态,移动和表演和在一旁被精心挑选的小道具的照片的框架作为一个空间。
转自 http://www.inglebygallery.com/artists/francesca-woodman/
her body often seeming to blend into her surroundings: caught in a state of metamorphosis she is not quite here, not quite there. In others, she uses a variety of props to create strange and dreamlike tableaux tinted with melancholy.
她的身体往往似乎融入周围的环境:被捕捉于 一个不太有她在这儿,在那儿的变形之地。在其他方面,她用各种道具去创造有着忧郁的奇怪与梦幻般的着色的静态画面。
回歸母體的空間想像–論Francesca Woodman的自拍攝影
http://blog.yam.com/danceanne/article/8337491
文/舞安
壹、前言
法蘭雀斯卡.伍德曼(Francesca Woodman)在1958年出生於美國科羅拉多州,她的攝影作品中拍攝了許多在房間裡、牆壁旁的女性形象,這些女性的身體朦朧而像霧般夢幻,使人看不清 楚攝影中的女性形象與空間的關係,而她創作出利用偽裝配合光影變化的詩意作品,又表現出一種令人着迷的意像,身體和空間、建築物彷彿融合在一起,呈現出一 種詩意的迷醉,讓人着迷。
基於一種對於藝術家生命歷程的好奇,和對其攝影作品的感受與吸引力,促使筆者探討伍德曼作品,在閱讀有關伍德曼的相關論述之後,發現其中有較多超 現實、精神分析與酷兒理論的相關詮釋方式與切入角度,而本文希冀以 劉瑞琪 教授的《陰性顯影—女性攝影家的扮裝自拍像》中對伍德曼的相關論述當作主要文獻的基礎,透過介紹伍德曼的生平簡介與創作的方式,和身處六十、七十年代女性 身體藝術發展的特殊背景,探討她與空間、身體扮裝相關作品的意涵,最後以女性主義與精神分析為切入點,分析其攝影作品中身體的偽裝與空間的關係,並期待能 對伍德曼傳奇性的一生乃至自殺終結,有更精闢的闡述和解釋。 Continue reading