Chu Yin-Hua
Strangely Familiar: Ambiguity, the Miniature and ‘Staged’ Photography
in Contemporary Art.
My research focuses on ambiguity, the miniature in scale and the use of ‘staged’ photography
in contemporary art. As an artist, I am especially interested in images that
express a sense of uncertainty and the surreal. The notion of the ‘everyday’ is
often linked to the qualities of familiarity and ordinariness. It is interesting
for me as an artist to analyses how artists can transform the banality of everyday
life into stylistic visual representations.
The method I have adopted to make this exploration is to choose artists whose work reflects this ‘uncanny’ atmosphere, and who represent ambiguity and a sense of the poetic through photography. I discuss how they dramatise the mundane by the use of colour and by lighting techniques, and how they set the mood and tone of each piece. I ask: How do these artists transform the everyday object into images rich in metaphoric content? I also explore the work of some artists who use the everyday interior/object as source material for the sculptural, and then interpret their source material a second time through the medium of photography. Throughout my text I have selected artists and works of art that I feel share the concerns of my own practice as an artist. The text thereby reflects the ideas inherent in my own work.
In Chapter One I discuss how artists dramatise the ordinary physical environment. I have chosen Jeff Wall and Gregory Crewdson’s works as my main references. These artists stage their subjects in the everyday environment, such as urban streets or domestic housing. However, by directing and arranging all the settings, their works evoke a sense of strangeness. I shall discuss how these artists use cinematographic manner to dramatise the everyday surrounding. The nature of the medium of photography is factual and representative, but these artists manage to suspend the representative effect by directing the characters and settings. I shall therefore emphasise the distinct quality of staged and photographic tableau, as well as the artist’s use of computer technology. By discussing how these artists situate their subject in the everyday environment, I intend to discover how the everyday physical world has been transformed to form the background of their stories.
In Chapter Two I focus on miniature objects. I will introduce two artists, Laurie Simmons and David Levinthal, who use toys as found objects in their photography. I will also discuss Loretta Lux’s work, since her children portraits reveal a sense of the surreal and the uncanny. According to Susan Stewart, miniature is a cultural product which does not belong to nature. Toys are miniature objects that copy the functional objects of our everyday life. Although the appearances of these objects are the same, their sizes and usage-purposes are totally different. Therefore, I shall discuss how the issues of ‘size’ and ‘scale’ influence the viewer’s perception of physical objects. What aspects of imagination and fantasy are reflected in miniature objects? How does one project oneself in miniature objects? I shall use Susan Stewart’s text On Longing as my main reference and one’s desire of possessing an object. For example, I will consider the idea of the ‘dollhouse’ implies one’s desire in terms of a projection of perfection. The dollhouse is a dream/intimate space that one can never enter, but nonetheless one can fully control. These mini figures and interior designs are connected to our physical world.
In the third part of my research, I will refer to Thomas Demand and James Casebere’s works as my main references. These artists sculpt their objects according to the physical world, and then present them as photography work. I shall discuss how these artists first use their sculpture to interpret the everyday environment, and then use photography to re-interpret their sculpture work. I shall also examine photography’s recreation of reality, and the representation of fabricated images. Staged photography is not a recording medium; instead, the form ‘photography’ governs and interprets the subject. I shall therefore discuss the representation of sculpture in photographic images. Why do these artists choose photography as their medium, rather than sculpture or installation? A sculptured miniature object combines material reality with representation. A photograph of a sculpture presents the photographer’s interpretation and personal viewpoint. For example, the use of lighting may create a certain atmosphere and change the original texture of an object. Also, the process of transforming a three-dimensional object into a two-dimensional object may create another spatial perception.
The Fourth part of my research is about my studio practice. Considering the similarities between the concerns of the artists mentioned above and my own work, I shall examine what I have learned from the above discussion and apply these ideas into my practice.Academic qualifications
2005- PhD Candidate, Goldsmiths College, University of London.2004-05/6 Postgraduate Certificate Photography in Art and Design. Central Saint Martins College of Art and Design. London.
2003-2004 MA Photography and Urban Culture. Goldsmiths College, University of London.
1999-2003 BA Radio and Television. National Cheng-Chi University, Taiwan. (Multi-media and Television majors).
Research interests
2006.7 Contributed Photographer in Taipei Art Magazine, Taiwan.2006.5 ‘Mail Project’ is Interviewed by ELLE Magazine, Asia.
2005.6 Group Photography Exhibition. Central Saint Martins College. London
2005.4 -- Zoom-in Darkroom Assistance (volunteer). London
2005.4 Stage Photographer: “Mermaid Blood”. UCL Bloomsbury Theatre. London
2005.1 Pinhole Photography Solo Exhibition: [non-place]. Taipei
2004 Pinhole Photography Project: “non-places” and “the colour of time”.
2004 MA Photography Project “copy the intimacy”, on-line exhibition, Taipei and London.
2003 Solo exhibition: “Doors”, a photographic installation, Taipei, Taiwan.
2003 Exhibition Curator, “One-Dollar, Eleven-Cents” National ChengChi University Graduation Exhibition.
2003 Media Art Department Graduation Exhibition: “Doors”(Photographic installation), “NOT NG” (animation)
2002 Photography exhibition: “Waiting” and “The Colourful Black and White” Art and Cultural Centre, Taipei, Taiwan
2002 Contemporary Art exhibition: Installation “The Odor Monopoly Store” and “Republic of Death”, Media and Art Department, National Cheng-Chi University
2002 Assistant Photographer, Next Magazine, Taiwan.
2002 Website designer, Well-Source Co,. Taiwan.
2001 Group Leader of “Theatre Stagehand” (Specialist in Stage Light Design) Art and Culture Centre, National Cheng-Chi University.
2000 Stagehand of “Cloud Gate Dance Theatre of Taiwan”.
2000 Outdoor Performance.
2000 Lighting Crew of National Cheng-Chi University Singing Contest.