Raymond T

MA Fashion Photography

In the symposia, “Painting Photo Object” held at Tate Modern, September 2011, Jean-François Chevrier, a French art historian, has alluded tableau as a possible implication to photography. His suggestions that tableau is a form, which relates the structural relationship between painting and photography, as associated pictorial forms increase my interest in exploring ways in creating a theatrical scene using photography where questions of ideology and signification are at work. Through the implication of the term “Tableu Vivant” into photography, there is a rise of status in photography as a work of art. In Michael Fried’s Why Photography Matters as Art as Never Before (2008), he suggests that “tableau” does not only translate into painting and hails photography as the new form of art at the current time, even comparable to painting of the old masters. With this new idea of “tableau vivant” in photography, the execution of Frozen was set in the direction of being a created scene filled with intended narratives with theatrical aspects and was being made for the wall. Through this project, new pictorial narratives were built on references from old novels and literature. The final outcome of Frozen is a set of photographic sequels depicting the exploration and means to be forever young. It was created in a way where all details (props, postures, expressions, lighting etc.) were object of thoughts. The series illustrates a blonde woman who gained immortality through drinking water from an ancient jar (water is often the cure or elixir for longevity and symbolic elements that sustain life e.g. fountain of youth; several scientific papers suggested water as an agent which traps our soul in the body) and her empowerment of the males. The woman, blonde and flawless, can be seen enjoying as spectator holding a sword while the male characters wrestle to impress her. This scene suggests that the female character is more powerful (through attaining immortality) than her male counterpart that they became her sex object. This reflects the changes and influences of the female identity in today’s society. The sword represents the symbol of power and the clock represent the inevitable fact of the passing time. The prospect of wrestling men illustrates the means of being forever young; seduction will become the method while love will become its goal. In one picture, the woman was shown offering a seashell to the older male, which another looked on, holding a mirror. In this context, the seashell, a rare item from far south Asia, is a symbol of wealth and birth where the mirror on the other hand suggests the woman as narcissist. Her narcissist manner is evident in another photograph where she looks into the camera, signifying it as a reflection of herself. When one attains immortality, religious views cease, as one will not be too bothered about the prospect of after life. In the series, the men can be seen embracing her like a goddess, hugging her tights and even blind folded as that illustrates the willingness to surrender to her wishes. Despite her unchangeable appearance (hair and makeup), the woman’s wardrobe remains superlative in its kind, symbolizing her wealth. In the last photo, the woman can be seen staring at a skull. The skull represents her burden of always has to endure the death of others while she was left alone. The way she stares at the skull signifies her unfamiliarity with death after being forever young for so long. Motivated by his own curiosity in image making, Raymond T photographs, and is currently pursuing MA in Fashion Photography at LCF. Website and portfolio: www.raytn.com Email: raytanasia@gmail.com