Text On Method - Paula

Current Practice (resource: here you can use the text made in the last session, interview...) What are you working on now?; (200) what do you want to work on? (200) Who can help you and how? (50)

Introduction

I just finished my latest work "worldpeace" which marks a change in my working practice as I'm working with found images for the first time. At the same time I started a writing practice in which I combine personal stories with fictional elements and images. In this text I will reflect on the new methods I use in my current practice and think about how the practice of writing can inform my future work as well as how it can change the perception of my previous work. With this text I will reconsider my artistic position.

My previous work OR My previous approach to my previous work

Throughout the past years I have been developing a photo practice which involves photographing other people and taking self portraits. Regarding photographing others, I prefer to work with real people instead of professional models. Finding strangers to pose and finding or creating settings for a session is an important aspect of my practice. Recurring themes in my works are desire, sexuality, gender and representation and I usually work in a serial way. (Why?)

For my work Exceptional Encounters I contacted men on an online sex-dating website with the request to photograph them naked in hotel rooms. When I talk about the work I usually talk about how I miss the female gaze when I comes to work that engages with the topic of desire and sexuality. I talk about how the gaze on the male nude in photography has always almost exclusively been a male/gay gaze and how I feel excluded from the audience. I talk about the absence of female desire manifesting itself in the male form and how female artists tend to work with the female form addressing feminist issues. I talk about a missing image tradition when it comes to the male nude from a female, feminist perspective. I talk about how this lack of female sexuality in the visual arts, namely photography, also has an effect on the way we understand sexuality: the active male viewer and the passive female object. I talk about the traditional division between the man behind the camera and the woman in front of it. This is not a new thought and has been addressed by many Queer Theorists, Feminists and Art Historians. People like John Berger have talked about the importance of considering the spectator of an image as an important part in the power triangle between model, artist and spectator. He points out that almost all post-Renaissance European sexual imagery is frontal - either literally or metaphorically - because the sexual protagonist is the spectator-owner looking at it.

This is all still important to me and those ideas remain a striving force in my work. But what's also a big part of the work

is it's performative aspect. The fact that I actually got myself as the artist and author on the one hand but also as a partitioner in a role play on the other hand.

The meetings with the strangers and the act of photographing them became a performative plot. I, the artist and image creator, served as projection screen for my models fantasy while they in return allowed me to take their image. The meetings were loaded with a sense of secrecy, fantasy and role play. The camera setting serves as an excuse to give in to a power play that involves no physical contact.

The notion of the camera setting as a surrogate.

How Queer Theory has informed my interest and practice Informed by Imagery of Western Art History Queering Art History Geschichte zu den Encounters umschreiben - die Treffen in den Vordergrund stellen Machtspiel

Bibliography

Berger, J. Ways of Seeing