A New Medium Calls For a New Interpretation

Traditionally, Exquisite Corpse "explores the mystique of accident" and "a kind of collective collage of words or images called the cadavre exquis (exquisite corpse)." The exercise was based on an old parlor game played by several people, each of whom would write a phrase on a sheet of paper, fold the paper to conceal part of it, and pass it on to the next player for his contribution.

But I'm not traditional. Or a rule follower...no, I'm not.

When the artists in my group were chosen for this exhibition, we were told that we could interpret the Exquisite Corpse process any way we wanted. Collectively we interpreted the process slightly different than the traditional approach: We decided that each of us would start a photograph and pass it on to the next artist for an addition. No parts of the image would be covered as they were traditionally. We also decided that anything would go…as long as the base of the photograph remained the same. 

After our first exchange, I had grand ideas of tactile additions such as sewing and using alternative (for a photographer) materials such as lace and fabric. When the first piece was handed over to me, however, I decided the best way to attack it (but not hurt it!) would be to use my old pal, Photoshop. This I did in the second addition to Carrie McGath's Mary and Feet images. See progression pictured below.

Carrie's original image

Carrie's original image

 

Carrie's original images with my additions

Photoshop was also my go-to for the third addition to our Exquisite Corpse that I've titled (but haven't yet consulted with the other two artists), I Am. See below.

 Brittany's original image with Carrie's additions

 

The final piece with my additions

The third piece (the one that started with my photograph) is troubling me though....check the progression below....

 The first image that I provided, Pit Pit, Bang Bang

 The image after Brittany's addition/subtraction and Carrie's addition

 The image after I got it back and reworked it; I incorporated my original image back into the piece, but kept parts/most of the additions by Carrie and Brittany in tact. 

 

Sexual potency, objectification and surrealism on my mind…

"A good nude photograph can be erotic, but certainly not sentimental or pornographic.”
- Bill Brandt

What happens when we recreate a pop culture sex symbol as a surrealistic manifestation?

Marilyn Monroe is likely one of the most recognizable sex symbols in the world. I’d almost bet my right leg that everyone, from every coast, over the age of 12 would recognize the infamous Marilyn Monroe. Apparently Chicago loved the image of Marilyn Monroe enough to pay an East coast sculptor money to build a 26’ tall replica of Marilyn. Read some of the controversy over “Forever Marilyn” here and here.

My idea for this installation and collaborative (Exquisite Corpse) project has little to do with capturing Marilyn's pin-up style and more to do with the nature of surrealism. When shooting, I had the distorted, high contrast images of British photographer, Bill Brandt on my mind.

Although I lack a fun mirror, I used perspective and directional light to create a disorienting effect in most of my images. My photographs were created with Marilyn's sexual potency and objectification in mind. This is Marilyn Monroe's (and ultimately every woman's) sexuality objectified through the eyes of surrealism.

Below you will see my images (still in the tweaking/cropping/shooting process) coupled with Carrie McGath's images to create a large installation piece for our Exquisite Corpse - final size will be approximately 7' x 5'. The empty white spaces are where Brittany Majka's images will be placed. 

Exquisite Corpse, Perhaps a final.

Exquisite Corpse work continues!

I met two talented artists (a photographer and a poet/photographer) who are my partners in creative craziness for the next few weeks while working on Exquisite Corpse. Both are talented artists in their own right and I think our strengths, although not the same, will serve as a great partnership. We've had two wonderfully creative and quite liberating collaboration sessions already.

BUT....I have to say that this exquisite corpse business is not easy!

I'm a control freak when it comes to my work. I printed two copies of Pit Pit Bang Bang (pictured above) along with one copy of Dark Light Orchid (pictured below). I placed them in a clean, neat cardboard portfolio case...they stayed there - safe and warm - until I met with my fellow collaborators. Something came over me when it came time to hand over my prints....Letting them go gave me a nauseous feeling - like letting your six year old sleep over at a friend's house for the first time! Sure, they are just prints, but they are my prints, my thoughts, my late nights, mine. I took a deep breath and let them go. I let my babies go.

 

Good news though: I gave my images to a very talented photographer and I am waiting anxiously to see what she has done with them. Like all critiques, jurried shows, and interviews, I am  also nervous to see the results - nervous to see how she interpreted my work.

I did not leave empty-handed from the meeting. I carried away with me two prints from the poet/photographer. Pictured below are Carrie McGath's Feet and Mary. I have been working diligently all weekend to do Carrie's images justice. It is my hope that when I return her babies, she recognizes them for what they were, as well as what they have become.