美國藝術家兼攝影師 Brooke Shaden 的作品「Fourth wall」,以第四面牆為主題,意指在傳統舞台中虛構的「牆」,而這也是一個將觀眾與舞台永遠隔離的隱形屏障。這次的作品就利用物理上的四面牆來創作,照片以鳥瞰角度「觀看」牆裡的世界,既超現實,也帶有像涵徵意義,並給人幽閉恐怖的感覺。

藝術家拍攝了一些製作花絮,大家可以看看以下影片:

整系列作品都是使用同樣的木板圍起製作,並把把相機安裝在天花板上才能拍攝到上圖效果。

完成作品:

像紅色這作品,就花了 60 小時去黏上紅色的毛冷

Last year I photographed a new series of images that I painstakingly didn’t show anyone. They debuted in the JoAnne Artman Gallery in New York City earlier this month (hanging until Feb 18) and I can now share them, which I am so excited about since they were such a labor of love. I built a 7ftx7ft room with my own two hands. I mounted my camera to the ceiling for a birds eye view effect. I put so much meaning and layers into each image, really wanting to create something with more depth than my previous work. For this image, I spent 60+ hours gluing yarn line by line to the floor. My model sewed thread under her skin. It was a very physical process. You can read about this image, the first of 9 that I will release, on my blog. Link in profile!

A post shared by brooke shaden (@brookeshaden) on

It started in a grocery store. Sometimes when I give lectures I ask the crowd what they most fear, and inevitably someone yells out 「time passing!」. It is something that a lot of people either know to fear, come to fear, or get over fearing. It is one of those natural, go-to responses. We all know our time is limited, but even more than saying we fear death, we say we fear death coming before we have used our time wisely enough. Time is the most slippery, hard-to-catch sand that drips through our fingers; we can’t count every grain, so we hope that we make every grain count. I wanted a model with long, silvery-hair for this image and I found her in the most unlikely of places: my local, small town grocery store. I’d love to tell you the story, so I’ve written it on my blog. Link in profile. This image and my series 「Fourth Wall」 on display at and represented by the JoAnne Artman Gallery in New York City (Chelsea).

A post shared by brooke shaden (@brookeshaden) on

My new series, Fourth Wall, represents a personal journey. For me, it was a full year of exploration, doubt, excitement and newness. For each image I couldn’t quite grasp the sense that it was coming together. For each image I doubted if there should be more or less in the frame, if anyone would care about them when I finished, and I was excited at simply doing something out of my comfort zone. I loved creating it. I loved every back-breaking hour spent curled on the floor laying yarn down, or trying to crack eggs out of plaster, or gathering sticks in the backyards of people I didn’t know (and subsequently getting out as fast as possible). I loved looking at the evolving images for days/weeks/months, adding and taking away from the creation. And I love sharing them with you.

A post shared by brooke shaden (@brookeshaden) on

How do you flood a room? Undoubtedly there are many ways, but when your studio is on the second floor of a once-abandoned building, still partially derelict, you do not bring the water to the studio. You bring the studio to the water. For my final image of my Fourth Wall series, I gathered a small crew of friends and tore down my little room that I had so lovingly built. We carried it downstairs to the parking lot where we had set up a 15 foot pool, about 4 feet high. It took the whole day to fill the pool and to disassemble and reassemble the room, but we did. By the end of it, my little room was rebuilt inside of water, and the room looked flooded. The last shoot. There was something so cathartic about that shoot. I modeled for it myself and I remember floating on m back, looking at the light blue evening sky, not hearing anything around me while my ears were muffled by the water. It was the perfect ending to a year spent focusing on where my art could go and how far I could push myself. Link in bio

A post shared by brooke shaden (@brookeshaden) on

這系列作品這星期在 Joanne Artman Gallery 進行展覽,詳情:http://www.joanneartmangallery.com/

藝術家網站:http://brookeshaden.com/

via iso1200