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Since he introduction of technology in the 20th century, modern day artists have extensively and successfully incorporated the opportunities it provides them in terms of enhancing visual language and transposing their intended message. Particularly artists who work in the context of surrealism and use subject matter of the physical context are given a new -found degree of freedom to use the various technology mediums and other technological advances such as these. Artists have adopted the concept of surrealism as a way to create images of meaning beneath the surface. Surrealism, by definition, is a style of art and literature developed principally in the 20th century, stressing the subconscious or non-rational significance of imagery arrived at by automatism or the exploitation of chance effects, unexpected juxtapositions, etc.
The ability to create thematic images was a concept applied to most artists work who were intrigued by the introduction of media technology. Samantha Everton, has embraced the concept of manipulating digital photography through Photoshop to creative some impressive images. One of her most recent instalments, ‘Vintage Dolls’ was commended for her exceptional application of visual language through which she creates her intended message. Her images; saturated with colour, juxtaposing subject matter and engulfing moods, shows her talent in create dream like images. The context of surrealism transports the viewer into a world of sinister make believe when the combination of eerie light, seeping undertones with the subject matter of menacing little girls turning a typical and innocent scene of ‘dress ups’ into a enchanting and somewhat malevolent atmosphere. Everton’s ability to connect with the viewer on an emotional and physiological context comments on ones thoughts of everyday life, Everton’s suggests, ‘My photographic art is primarily concerned with depicting elements of magic realism…images that show introspective and unconscious moments of life and our relationships of others’. Whilst she triggers emotions they effectively through visual languages, she communicates through the subject matter to a greater degree.
Such effective composition of digitally enhanced images engages emotions within the viewer. A specific portrait of her ‘Vintage Doll’ body of work named ‘Secret Garden’ uses the effect of luminosity of yellow light to provoke feelings of mystery and curiosity of the unknown. Everton uses photography that is digitally remastered before being reprinted on absorbent watercolour paper with pigment ink resulting in ‘disturbingly lush’ images. Through this body of work Everton establishes her intended message, style and ‘the gravity of her signature vision: a surrealists taste for the uncanny’. The positioning and placement of little girl engaging in child like activities encourages audiences to consider the emotions children experiences. Though Everton uses visual language effectively she positions the audience to consider the concept of surrealism through the subject matter. The girl in the ‘Secret Garden’ for instance adopts the position of curiosity through her attempt to peer out the window into the ‘outside’ world. This demonstrates Everton’s intention to integrate her personal experiences as a child in her artwork. She introduces the complications of being raised in a multicultural household suggesting the discussion and society difficulty in accepting people of other cultures and who they are. This picture depicts the social boundaries put in place by Western society. The effect of the outdoor scenery in place of the interior of room gives the message of being restricted to the ‘outside’ and being denied of the chance to interact with western society. This also reveals the common element of an Asian child in most scenarios looking innocent and somewhat unsure of herself.
Another Typical artwork of Samantha Everton is a photographic produced with the same media as the previous portrait called, ‘Party Dress’ uses the effects of eerie light, seeping green undertones and textured surroundings to add a menacing aspect to the act of child play and avoiding fairytale clichés. Once again centralised on the restraints of cultural backgrounds, this image offers a dual perspective. The little Asian girl is shown to been dressed as western girl conforming to the expectations of her surroundings although she simply sees the routes of her culture in the mirror. This raw perspective on the power and dominance of one culture over anything else similarly can be justified as her view of her potential. These two perspectives, whilst based on the same assumption of culture, contradict each other in the sense that from one point of view, culture is seen as defining ones personality rather than seeing potential. The ‘feel’ of this work is very dreamlike and therefore allows people to relate a on a deeper analytical level and appreciate Everton’s work as a navigation between being awake and dreaming.
The last and in my opinion the most confusing portrait of Everton’s work that I am discussing is ‘Siam’. She is constant in her use of lighting although she uses opposing colours to neutralise the image. The high intensity and pigment of colour enhances the contrast between the red chair, yellow backdrop and the blue dress. Everton juxtaposes vibrant scenery with a feeling of mourning through the body language of the girl curled up on the couch. This could be interpreted from the perspective of dealing with death. The emerging cat suggests to have eaten the bird whilst the girl is symbolising the effects and inevitable emotions that are associated with the difficulty of deaths. Another conclusion that could be drawn and possibly more logical, relevant and constant to the body of work is that of a role switch between the cat and the girl. An child would typically be thought of being more free spirited than a cat, although this image suggests the entrapment of the child and the freedom of cat. This photo has an emotional weight created through the use of colours in opposition to the subject matter which forces people to think about what Everton is trying to communicate through the visual language.
Through the integration of effective visual language, use of technology and the incorporation of surrealism, Everton creates an environment that transports you to live theatrical moments. Her innovative choices lead her to ‘prove her insight in to the power of childhood symbolism’, (Gill.J,2009). Although what makes Everton’s work most convincing and enchanting, is her understanding of the visual awareness of children, ‘they have absorbed what they have seen’,(Gill,H,2209), whilst engaging in even the most mindless and innocent activities. Such carefully constructed images have a profound impact on audiences and how children are typically perceived is brought into question. Everton’s work truly speaks for itself and allows the enchanting quality of her work take the viewer into a world of their own imagination, ‘its what you bring to it’, (Twomey.L,2009).
Bibliography
Gill. H, (2009), All Dolled Up, Herald Sun, http://www.samanthaeverton.com/articles.php?id=8 , (05.11.10).
Gill. J, (2009), Samantha Everton, http://www.samanthaeverton.com/articles.php?id=11, (30.10.10)
Kirsopp.E, (2009), Australian Art Interview, http://www.samanthaeverton.com/articles.php?id=10, (30.10.10)
Samatha Everton,(2009), Vintage Doll Portfolio, http://www.samanthaeverton.com/portfolio.php?series=Vintage%20Dolls#images/vintagedolls/Camellia.jpg
Twomey.L, (2009), Screen Queens, Vouge Living Publication, http://www.samanthaeverton.com/articles.php?id=14, (28.10.10)
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