Week 10

My first photographer is Tereza Vlckova who's website can be found here. Vlckova works freqeuntly in the odd or unordinary. Many times her work lies in fantasy which matches her writing style as seen in her artist statements. Her use of color also tends to change depending on her work and how much surrealism can be found in it which is visible in the examples above. It would be difficult for me to choose a series of hers that I find was most successful. If forced I would probably say her series "Two" is most successful. It is also based less in fantasy and more in human nature. She explores the idea of loneliness and soul mates. She chooses to do so by photographing her subject twice but differently expressing either an extremely opposite emotion or only a slightly different one. She photographs them in a natural area frequently allowing them to blend ing or contact their setting. 

My next photographer is Lui Xiaofang. Xiaofang's work is also extremely influenced by childhood as well as contemporary China.  Her work features a young girl in a red scarf and white dress but without the normal cityscapes of contemporary China. She has stated this work is highly influenced by her childhood memories. What I find most interesting about this work is her choice in the circle. While it for some artists seems gimmicky and unpurposeful Xiaofang's use of it makes perfect sense. In these circles Xiaofang has created her own universe with this single inhabitant. To keep this idea she also makes her figure one of if not the smallest thing in the image and yet some how manages to make it the focus of the image. 

My final photographer is Bert Teunissen who's website can be found here. This series titled "Domestic Landscape" is about light. Specifically daylight and homes that still exist (far and few of them) across the world that are built for daylight to be the main light source. "Pre-Electricity" if you will. Teunissen chooses to photograph his subjects using panorama techniques in order to accurately depict the interior and allow them to be viewed in traditional "landscape" format. He has traveled to several countries to also see the difference in the cultural value of the houses. He poses his subject with in the room where the light interests him.  What I found interesting about them was this idea of a domestic "landscape" rather than simply calling it an interior.