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Laurence Demaison

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LODLP : Apart from the monograph, what impact did the prize have on your career? And what is your relationship like with HSBC today ? Since the 1990s, the photographs of Laurence Demaison have gone beyond the genre of self-portrait to offer a deeply original vision that is at once multi-faceted and coherent. Although for many artists the representation of the self remains a sublime reflection of the author, here Demaison deforms her body and face, creating an otherness that conceals her true image. There’s a Surrealist touch to these series, which bear comic titles reminding the viewer that it’s all an invention. The representation of the body is the source of a long process of experimentation. Demaison draws on the technical possibilities of film, playing with exposure times, the focus, the contrast and the negative to create fascinating and singular images. I believe the majority of my work below shows the extent of my improvement with image analysis etc so this is the only thing i will be adding on to. There are many things i love about the pieces i have displayed above, in this mini paragraph i am going to go into some detail about the techniques this artist uses and how and what techniques i am trying to have as inspiration and will attempt to use within my shoot. For example, I would want to use a wide range of expertise within my composition ranges and style to create differentiation, I would only slightly alter my angles and perspectives just like laurence does as it distorts the image enough without unusual camera perspectives. Just above i will be taking and using multiple photos so i can see if any happy accidents occur or to have a wide scope of images of all variety so i can further edit them which leads well to concluding images and for me to know what worked well and what became faliures.

The photographic work of Laurence Demaison is exclusively constituted by self-portraits from 1993 to 2009. Since 2010 she occasionally uses mannequins or dolls. The used techniques – shot, development, print – are analogicals and realized by the author. No particular manipulation intervenes beyond the shot (except chemical inversion of films for some series) Throughout this course we have been given a chance to add on coursework we may have missed. For me, I thought that it would be good to revisit some of my writing a year later and date it here, which will further show my improvement within this course. However, on saying this, i am going to leave my year ten coursework due to the reasoning my writing has improved. So below is a short write up continuing from my artist investigation - Laurence Demaision. I took these images in different locations. I first took images in my garden in the evening, whilst it was raining. For these images I used the flash on my DSLR camera, because of this, it also captures the rain falling, which I think made the images more interesting, as it's not obvious that it was rain. The next location I photographed in, was in my local area, using my friends as models for the pictures. These images gave me more flexibility as I wasn't trying to photograph myself, so I could get my friends to pose in a wider variety of positions, than I could whilst photographing it. Photographing the body felt more as though I was creating a sculpture. I decided to edit my images even more, as I realised that the formal elements I wanted to show in my images could be emphasised even more with heavier editing. Using iPhoto again, I turned my brightness down more on the images and exaggerated the contrast even more. I think this helped blend the body with the location together, as well as emphasising the tones and textures in the images, which I have always liked about the effect.I followed Brandt's theme, by photographing the body and also the location of the photograph Laurence Demaison, born in 1965 in France, is a photographer and visual artist, graduated from the Strasbourg School of Architecture in 1988. Her first approaches to photography took place in the early 1990s. Her photographic work is exclusively consisting of self-portraits from 1993 to 2009.Laurence Demaison, currently living and working in Strasbourg (France), started out as a self portrait photographer. All of her earlier work, starting in 1993 up to 2009, consists of self portraits. While browsing through the series you’d never suspect all these images show the same person, it’s like every series shows something new about her personality. To make it even more special none of these images are (digitally) manipulated aftwerwards, except for the chemical treatment of some negatives. I’m amazed by how much diversity can be found in Lauence’s portfolio. Some images are beautiful, some are sad. Some seem to tell a story, while others are straight out terrifying. In her latest work Laurence expanded the range of her models from just herself to dolls and mannequins as well, yet still succeeds in capturing haunting, conceptual portraits. Her work with self-portraits originated from her dislike of using models and that she could never get them to follow out her directions to her satisfaction. So she decided that it would be much easier to cut out the communication and use herself as the model so that she could achieve exactly what she intended. Demaison’s distortions are not simply a way to hide herself, but more a way for her to experiment with different techniques and to broaden our way of seeing. Apal'kin's work has a direct view on to the model. The shots were taken with a studio lighting as it can be more controlled than natural lighting. Using studio lighting is perfect to use as you can place it anywhere and make shadows to create a contrast between light and dark. However, I do believe the final shots does have a soft affect left by the studio lighting. Arms and hands can create leading lines which this photographer used to make the mirror the focus point. The mirror is on a rule of third which catches the viewers attention further. I believe that Apal'kin's work is usually taken with a large depth of field. I purvey that the photographer did not use a tripod and had taken this image with an f stop of 8. The photo was taken at a middle point, only revealing the upper half.

Refusant la facilité de Photoshop, le photographe construit patiemment ses mises en scènes, avec une grande exigence formelle. Dotées d’une forte charge symbolique, ses photographies sont autant de paraboles - volontiers dérangeantes - sur la condition humaine, nourries d’empathie et d’ironie. Laurence Demaison è un fotografa e artista visiva francese, nata nel 1965 . Dopo aver studiato architettura a Strasburgo si avvicina alla fotografia da autodidatta. Il suo lavoro consiste essenzialmente nell’autoritratto. Her photographs really stood out to me because she doesn't digitally manipulate the images, before or after they have been shot. Apart from using chemical inversion for some series, as an exception. I really want to try experimenting using long exposures and strobe lighting to create ghostly effects, also like some of Harold Edgerton's work. I wouldalso like experimenting with portraiture and manipulating the images as well. The ghostly effects capture my eye, as there aren't opaque sections in the image, unless that object or body part was held there for a longer time. But mostly the images are quite patchy which I really like. As well as this the images feel quite gloomy from this effect and the darker tones. La sua opera presenta fugaci richiami ad artisti come Etienne Marey, Andre Kertesz, John Heartfield e Francis Bacon.

Arachnophobia (fear of spiders)

My favourite images are the top and bottom right photos. This is because tey are the most simplistic out of the set, but still get through the textures and tones I was focusing for. Furthermore because of this, the original pictures are still unrecognisable. This experiment has made me want to layer my images in different ways, such as double exposure, or layering the images by printing images on top of each other. The body, given its formidable expressive power and unending versatility, is an inexhaustible and deeply engaging subject. And when we use our own body, it is capable of responding instantaneously and with minute accuracy to the ever-changing action/reaction that modulates the flow of conception, without the losses in transmission inherent in the use of a model." - Miguel Ribeiro ( http://www.miguelribeirophoto.com/video.html ) Laurence Demaison is a French experimental photographer and visual artist who works mostly with self-portraits. She has a particular interest in the female portrait and body. (Galerie BMG, 2009) I took these set of images using one photograph and placing it in random places around my school, then photographing it using my iPod. I found this task harder than the previous ones, as most of the places where I photographed the images, made me feel more uncomfortable to take, as it felt quite awkward and un-natural. An example of this was in the toilets, as I placed the photograph behind the toilet flusher. This was the most awkward image to took, as it was a new environment for me to take images in, as well as feeling slightly embarrassed if people walked past. However, this was the last place location where I put my image, because I wanted to push myself out of my comfort zone and purposefully place myself in that slightly awkward situation for me. Out of all of these tasks I have done so far, using these images, this one I think has been most beneficial to me. This is because it has helped me feel more confident in taking images in what I would think where more uncomfortable situations such as the location of an image, or the subject. All of these images I have created I would defiantly like to experiment more with taking images in more stranger locations and still create and directing the images myself. My favourite image of hers, is the top right. I really like this one, as the majority of the photograph, is lighter tones. But when the darker tones do appear, they really stand out. I want to try and focus a lot on tones and different ways of using lighting, to create an image that makes the viewer feel something emotionally, just through the tones.

Photographe autodidacte, Marc Sommer élabore ainsi depuis plusieurs années et sans la montrer jusqu’à présent, une oeuvre où les objets inventés côtoient les mises en scènes de personnages, souvent ses proches mis à contribution. Complètement inédit, ce travail étonnant décrit un univers paradoxal, d’une grande fantaisie mais à l’humour cruel et inattendu. Start thinking about display strategies. I want to experiment with using these images and distorting them, by the Another thing I don't really like about these images, is that they don't fit with the abstract style of work that I have been focusing on in my project. I would like to follow on from this, by taking a second set of images using Laurence Demaison is a French photographer and artist. In many of the photographs above she uses a combination of her drawings in her photography to manipulate it. An aim of hers is to capture what a camera can see, which can't be seen with the human eye. Therefore in many of her photographs, she exposes the photograph over a period of time, creatinga ghostly effect.During her early career, Demaison wasparticularly interested in the female portrait and nude, but found it difficult to convey her 'mental images into words and direction', soon after she gave up on models and began to use herself as the subject of her photographs. However Demaison soon found out she struggled using her physical body to photograph, so she started experimenting destroyingher bodyand recreating it, leaving the outcome of mostly, dark sinister ghostly photographs. Since 2010, she occasionally uses models or dolls. The techniques used – shooting, development, printing – are argentique and produced by the author. No special handling is involved beyond the shooting (except for chemical films inversion, for certain series).My next steps: I want to create my own box construction or experiment more with the one I have already used. I don't want as much materials included in the box, to make it less busy. But the materials I do use, I would like to use different ones, to see how they look all together. I will also focus on taking my images from more of a variety of angles and close-ups, as my previous images were mostly taken from the same face on, eye level angle.

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