看藝術家 Brooke Shaden 如何製作場景拍攝「第四面牆」系列照片
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!
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).
The test of true friendship is covering someone in 50lbs of hot wax and telling them they can’t move for 2 hours. Though it was a taxing process, it was incredible to watch the slow transformation of a normal bathtub and floor to suddenly looking like time had stopped and they were frozen under the weight of a thousand candles melting. I was really moved by this image in the series and it quickly became one of my favorites. To be stagnant, unmoving, unchanging, frozen – timeless. Something I rebel against. Uncensored version + story on my blog. Link in bio!
I got to pour thick, sticky syrup all over my friend and the floor, and the best part was that there was no one there to yell at me! I love being a childlike adult and finding the same magic that I did as a kid in playing with goop and making a mess. In this case, the 「goop」 served as a thick substance that my character could be enveloped by yet coming out of. For me, it was about a girl coming out of the darkness – a rebirth – so that she could be born anew. What is the messiest thing you have done for art? Link to blog about this picture in profile!
How would you create if you were going to share your soul with your audience? I’ve often found myself too boring in the past to create from such a personal place. I realize now that our lives are intricate and powerful and if we get to know ourselves deeply, we can create from that place meaningfully. This image is a very personal one for me, and one of my favorites in the new series. Created by dipping small balloons in plaster and popping them once they dried to look like eggshells, I made this a self-portrait (wearing a bald cap, no less!) and even printed it twice to display at my exhibition. Link to blog all about this image in profile. On display at the JoAnne Artman Gallery in NYC.
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.
To have the key you so long for yet not know where to put it. 「Locked」, from my Fourth Wall series. Photographed with five keys, expanded into 4,000 keys in post. Currently on display at the JoAnne Artman Gallery in NYC for just a few more days. Link in bio to blog about these latest images, particularly for a closeup of this one!
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
這系列作品這星期在 Joanne Artman Gallery 進行展覽，詳情：http://www.joanneartmangallery.com/