Nigel Tomm
distorted and dissembled photography in which Nigel Tomm crumples up either parts of his own photography or parts of magazines and photographs with his own models. The reason why I have chosen to research and blog about his work is because similarly to last weeks photographers he is using magazine pictures of celebrities or 'ideal bodies' to show how we should look.
through his photographs he is distorting the way women should look and trying destroy the image so many marketers and advertisers try to convey.
Photograph above: This is one of my favourite images out of all his photographs. He is contrasted a magazine with his own photograph to show we are shown how to look V's a live model. Particularly one of things that stands out for me the most is the way the women is positioned. It is something I could see being used to promote or sell a product, something I talked about last week through sexual fetishism.
His photos offer an angle of how to look at women's bodies and how we are bombarded with magazine pictures of naked women in sexual positions.
Nigel Tomm is a famous photographer, musician, director, painter-there's not lots of information on his however.
Maurizio Anzeri
We are used to viewing a photograph as an end result. But what if a photo is used as just the starting point of another creative process? Is it still a photograph? This is one of the questions prompted by the beautifully strange artworks of Maurizio Anzeri, who intricately embroiders found photographs with coloured thread. An exhibition of his work, But It's Not Late It's Only Dark, is currently on show at Chapter as part of the Diffusion photography festival in Cardiff.
The Italian-born, British-based Anzeri searches out vintage portraits in flea markets and junk shops, viewing them, he says, as landscapes on which to map out his own unique geography of suggestion. Faces are criss-crossed with coloured skeins, or patterned in curves and circles until they are barely visible. Sometimes the end result resembles an elaborate mask; at other times an interior landscape made by a latterday surrealist plundering his fertile unconscious. Here, the poignancy that attends all discarded photographs – remnants of another time, another life of which we know nothing – is literally covered over.
Anzeri has said that his embroidered images suggest "other possible evolutionary dimensions for the people pictured", but his work has a surrealist rather than a Darwinian undertow. Sombre-looking children and sophisticated adults take on an absurdist aspect. The people pictured all but disappear in the process, becoming shadows or outlines beneath the lines. What was once a portrait is something else entirely: a formal, sculptural, diagrammatic artwork in which identity and expression is camouflaged. Anzeri creates something new and surprising by applying an old-fashioned craft to old-fashioned artefacts.
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