Showing posts with label Likenesses. Show all posts
Showing posts with label Likenesses. Show all posts

7.3.10

hair tents

 

  
Thinking about 'hair tents' after reading The Power of Hair in the Victorian Imagination by E.G. Gitter.
To download a pdf version of the article click here.

Hair tents: warm and nest like, dark, sheltering, a protective retreat.  
When 'your girl, lying on top of you, lets her long hair down around your head' (William Tindall).  
For Dante Gabriel Rossetti they provided a 'visionary moment of perfect dark silence' (EG Gitter).
Robert Browning writes about them in Pauline as a place to nurture creativity:

Pauline, mine own, bend o'er me - thy soft breast
Shall pant to mine - bend o'er me - thy sweet eyes,
And loosened hair and breathing lips, and arms
Drawing me to thee - these build up a screen
To shut me in with thee, and from all fear;
So that I may unlock the sleepless brood
Of fancies from my soul, their lurking places.
(lines 1-7)

Links abound between hair, gold, webs, weaving, story-telling and story-reading, with a ladies tresses seen as beautiful and pure, haunting and alluring, duplicitous and deadly. Some things I thought worth making note of for future projects:

Saint Agnes
There are various stories about the martyrdom of Saint Agnes. The following is just one variation.
 

Sempronius, a Roman prefect, is angry at Saint Agnes for refusing to sacrifice to the pagan gods and to marry his son. He orders her to be stripped naked and weighed down with chains and exposed to his soldiers. But as her clothes are torn off her, she prays to God and inexplicably her hair grows and grows to form a dense cloak around her that cannot be penetrated.

The myth of Philomela
Philomela has her tongue cut out after being raped by her sister's husband, Tereus of Thrace, when she threatens to speak out about the attack. She weaves a fine cloak/tapastry that tells her story and sends it to her sister Procne. The story culminates with her and her sister being turned into birds by the Olympic Gods. One variation of the story states that Philomela is turned into a swallow that has no song and Procne into a nightingale that sings a sad and lonely song by night. More here.

28.9.09

anatomy of flight






I found these a few weeks ago in the Castle Drogo shop and after buying two for some small friends, I ended up buying six for me because I couldn't decide which ones were best. They reminded me that after In Absentia I wanted to make paper bird beaks to stop people from talking. They also employ colour very creatively, which I probably wouldn't have: I always imagined they'd be made with a good, sharp HB pencil.

14.5.09

her-suit / hirsute




An adapt-a-boiler-suit party solution…

24.10.08

introducing the 17 rooms theory















The New Pretty Village, from Lithographed Paper Toys, Books & Games 1880-1915, Judith Anderson Drawe & Kathleen Bridge Greenstein, Schiffer 2000.

I have been told that I am like a house with 17 rooms and that I retreat to these different rooms continually. I plan to make a paper house describing each of the spaces… and perhaps a navigational map for confused onlookers.

30.6.08

lament

The tears of clouds

23.5.08

Pelt scraps



Peckham High Street, London, 2008

18.4.08

Domino Visor or Impassive or Studies in Indirect Communication vol. I

Illustrated Catalogue of Papier Mâché, Linen, Wax, Wire, Gauze, Show and Curtain Masks, Noses, Wigs, Beards, Etc.; Findlay; The American Mask Manufacturing Company; 1915.

7.4.08

Knit-head

Photo: Jeremy Horner


These are brilliant. But despite laboriously trying to find hard facts, they still remain somewhat illusive.

The top picture was scanned from a 2004 edition of
Death in the Andes (Mario Vargas Llosa), published by Faber & Faber. This was where my curiosity was piqued.The bottom picture came from this site where I picked up some scant information about the origins of these knitted masks.

There are versions of these woollen masks in the neighbouring countries of Bolivia and Peru. In Bolivia they are said to be used by the Qollas of Puno and Paucartambo (other types of cloth mask are worn by the Qusillu of the Altiplano). The masks are hand knitted to depict human features, including curling moustaches, beauty spots, chins and rosy cheeks. It's somehow fitting that the Qollas people use knitting to create these pieces as they are traditionally llama herders who roam the mountains, to which wool and knitting are closely associated.

If you're interested in more information about the rituals in which these masks are used, look at this book review: Shaping Society Through Dance: Mestizo Performance in the Peruvian Andes by Zoila S. Mendoza.

* * *

Nice that when you put on a mask, you reinvent yourself.

But your eyes, your view of the world, stays the same. It's the part that the mask can't cover/alter/enhance. Or at least, it shouldn't, if the mask is to remain practical. I think.

So although you look like someone/something else to those around you, you haven't actually altered your perspective. But I guess the knowledge that your true self is hidden, is enough for some to create an alter ego far beyond the limits of the corporeal.

Maybe a bit like me, when I change my glasses. Or my boots. Never tried masks. Because of the glasses. Must address that.

4.4.08

Jerome

'One day, quite some time ago, I happened on a photograph of Napoleon's youngest brother, Jerome, taken in 1852. And I realized then, with an amazement I have not been able to lessen since: "I am looking at eyes that looked at the Emperor." Sometimes I would mention this amazement, but since no one seemed to share it, nor even to understand it (life consists of these little touches of solitude), I forgot about it.'

Camera Lucida
, Roland Barthes, Vintage, 1993.

2.4.08

Notes on Gazes

Image © Victoria and Albert Museum, London

Miniature eye jewellery: a
portrayal of an individual's gaze as opposed to just a portrait of someone's eye.

Subjective or objective?

The observer and the observed: the difference between being seen, and seeing. Here, in this sense, it's confused. The painted eye views the human eye, views the painted eye, views the human eye… ad infinitum. A never-ending and unspoken reciprocal dialogue.


Anonymity. I know it's your eye. You know it's your eye. Everyone else however is in the dark. And a hundred years from now, certainly, that tacit understanding is entirely lost.
All that voluminous emotion embedded into one tiny painting, worn on a finger, across the heart or buried away under a shirt. Vanished. Gone.

But it's still relevant.

We know that someone cared for someone. Maybe lovers, maybe siblings, maybe mother and daughter. And something was exchanged. And we know that some part of that something, the part that is tangible, is ever vigilant in its gaze.


prosopopoeia
(noun)

1 a figure of speech in which an abstract thing is personified.

2 a figure of speech in which an imagined or absent person or thing is represented as speaking.

ORIGIN: mid 16th cent.: via Latin from Greek prosōpopoiia, from prosōpon ‘person’ + poiein ‘to make.’



More information in:
Treasuring the gaze: eye miniature portraits and the intimacy of vision, Hanneke Grootenboer, The Art Bulletin, September 2006.

The Art of Mourning

28.3.08

Tresses vol. II

Hair braid lithographs. Source: M. Campbell's Self Instructor in the Art of Hair-Work

'Hair, that most imperishable of all component parts of our mortal bodies, has always been regarded as a cherished memorial of the absent or lost. Impressed with this idea, it appears to us but natural, that of all the various employments devised for the fingers of our fair country-women, the manufacture of ornaments in hair must be one of the most interesting. Why should we confide to others the precious lock or tress we prize, risking its being lost, and the hair of some other person being substituted for it, when, with a little attention, we may ourselves weave it into the ornament we desire? And the dainty and very tasteful handling hair-work requires, renders it as truly feminine an occupation as the finest crochet or the richest embroidery.'

Elegant Arts for Ladies, published by Ward & Lock, 1856.











Hair braid lithographs. Source: M. Campbell's Self Instructor in the Art of Hair-Work


'APPLICATIONS OF HAIR WORK.

GUARDS
STUDS
STUD-CHAINS
SCENT-BOTTLES
WALKING-STICKS
RIDING-WHIPS.'

The Art of Ornamental Hair Work, F.L.S., 1856.