Franken-fashion, Masks, Van Veluw and Hundertwasser

A few months ago an article in the magazine Dazed and Confused caught my interest. They had set up a project, working with various fashion designers, in which they challenged them each to make a mask out of scraps from around their studios. The project raised several particularly interesting themes, such as concerns with the recycling of materials and the use of everyday detritus to create art. Particularly interesting was the image below, a mask made of discarded rubber gloves in which various hand-signals are carefully intertwined and written with the fingers. In the image further down the mask is made of glass by Walter Van Beirendonck, in the article he says 'the glass creates a deformation of beauty'. I think the anonymity and trasnformative nature of the masks is a concept I would particularly like to explore in this project. Indeed, anonymity is directly linked to the mask, from renaissance masquerade balls to those worn by costumed comic-book heroes. The mask is also linked to the history of medicine, plague masks can be likened to the modern day surgeon's mask.

I began to experiment with the idea of the make-up as mask, I have several ways I wish to explore this which I haven't gotten around to as yet, however, I did start to think about the works of two particular artists recently, Levi Van Veluw and Friedrich Hundertwasser. The photographs below are my first attempt at exploring the use of make-up as mask, drawing lines in eye-liner across my face and photographing them using the previously mentioned Polaroid 403R. The first image is the stages of this and the second is used more as documentation. The photographs become documents of an event, like the images left after 60s performance art. That the camera is used to create photographs for documentation is also an applicable and interesting facet.

Levi Van Veluw's work involves covering his own face and head in various materials, including leather, felt and human hair. His work contains a dual attraction, curiosity and repulsion create feelings of ambivalence in the viewer. These works also follow the vein of performance art in that the photographs are all that is left as documentation of the works. I intend to further expand on his work in a later post.

Friedrich Hundertwasser was part inspiration for my face-contours photographs mostly because of their aesthetic similarities. When first starting these photographs he was not a direct influence, the lines were more a way of exploring the contours of the face through a simple pattern, however, after having studied the photographs more closely, the works of Hundertwasser and the likeness to the painting below became very apparent.