THESIS
By: Ashley Taron
In my most recent years, while being engaged in the Fine Arts degree program my art has evolved and become almost entirely photo based. Through practicing many artistic domains, I’ve found my most successful works have been produced through a combination of my passions for makeup effects and costuming within the medium of photography. Photography allows me to portray fictitious, costumed characters to viewers with images taken in a controlled environment that will enhance and best serve my ideas.
Within my images, I like to tell a story. In the past I have recreated non-fictional horror characters such as Elizabeth Bathory and Ted Bundy. I created each character how I envisioned them in my mind after gathering more details of each serial killer’s history. With learning about these unbelievable details that had happened in real life, I wanted to portray each of these characters as realistically as possible. Then in turn bring the same horror to viewers that I had felt when reading about their biographies.
Once I had finished my versions of these historical killers, I wanted to produce some of my own stories and characters which could appear realistic. I was interested in discovering whether the recreated non-fiction or the realistic fiction would have a more powerful reaction. To my surprise the fictional characters which I created such as a murderous Candy Man; that lures children, and the Magician and Clown duo; that put on a show to attract unsuspecting viewers to their demise, had more shocking reactions than their real world counterparts. Viewers would often explain that this higher shock value within the fictional character images was evident because the characters I created were so relatable to their own experiences or fears, while also taken to extremes; for example: taking the fear of clowns and making images of a murderous clown that has jagged teeth with an abnormally haunting clown face.
After creating photos which evoked horror, I decided to investigate if anyone else had created imagery that was similar. Little did I know, there are photographers who approached horror in a similar manner; aiming to evoke fear. These artists are titled ‘Horror Photographers’. Joshua Hoffine and Danielle Anathema are two Horror Photographers I have discovered. Joshua Hoffine’s work commonly focuses on childhood fears. He creates his scenes like small movie sets using special effects makeup, costumes, props and lighting which he then photographs his ‘actors’ or children within, creating an image much like a movie still. As Hoffine states, “I try to present the images within the visual grammar of a child. I want the viewer to share their point of view, to feel their sense of vulnerability…” (Joshua Hoffine). Anathema’s images are created through a similar nature. Makeup, costumes, and props are very evident, however; the images are less like captured movie stills as Anathema uses much more post production Photoshopping to create the final product. Her images tend to be produced for a much more adult audience. Anathema explains: “The darkness can be mesmerizing, scary, romantic and humorous. Through my photography I am able to express my passion by capturing the world of horror, humor and erotica through the eye of my camera” (Anathema Photography).
After looking at various artists such as Hoffine and Anathema, I decided for my next body of work I wanted to incorporate various artistic elements that I felt make their works so strong into my own work. For example: Hoffine’s tactic of relating his images to childhood fears allowed for all viewers to relate, as everyone was or is a child, making the horror he wanted to evoke that much more successful. I felt that Hoffine’s means of creating his images by making small movie sets and using little Photoshop also made his images more fear evoking. Less Photoshop lends to a more realistic nature to the image. Anathema, on the other hand, creates horror works that are erotic and much more adult, steering away from the idea of the image being only seen through a child’s eyes. I personally believe having adult imagery offers another realm of horror to the images. Just as an R-Rated horror film is often more horrifying than a PG-Rated one.
Using these observations I decided to create a series of images that are relatable to the majority of viewers. I went on to recreate well known Fairy Tale stories I remembered from my childhood. However; I didn’t want my recreated versions of Fairy Tales to be PG-Rated as I have decided Anathema’s work was successful due to her theme of erotica aiming for adult audiences. The stories I have chosen include Rapunzel, Little Red Riding Hood, Hansel and Gretel and The Three Billy Goats Gruff. I chose these stories specifically because they have different underlying life lessons or meanings behind them that I am able to shift into my own twisted R-Rated versions.
To create my versions of these well-known Fairy Tales, I’ve researched various books on the topic which contain multiple versions of each story as well as individual interpretations on the meanings found within them. I then discovered the original stories are far more adult than the current contemporary versions which were made suitable for this era. For example: the original Little Red Riding Hood is actually called “The Story of Grandmother”, and it involves the wolf killing the Grandma before Red Riding Hood Arrives to her Grandma’s house. The wolf proceeds to put the Grandma’s flesh in the pantry along with her blood in a wine bottle. Once Red Riding Hood arrives at the house he tells her to undress and grab some meat and wine from the pantry in an attempt to seduce her (The Classic Fairy Tales). The original version reads much different than the story most of us know and in my opinion is much more as it directly relates to the rape of a young girl as well as bestiality and cannibalism.
Makeup and costumes play a big role in portraying these characters the way I would like viewers to read them in my revived versions of the Fairy Tales. Most of my makeup inspiration is drawn from watching numerous episodes of reality TV shows such as Face Off and Top Model. Face Off is a search for the next greatest makeup artist which challenges various artists to do full makeups and costumes to create unique characters based off of the various challenge criterias presented to them. They use a wide range of materials anywhere from foam latex faces to cotton candy hair. Top Model is the search for the next greatest model. The show consists of a large crew which involves multiple makeup artists and stylists that stylize each model for various photo shoots. There have been makeups done anywhere from zombies coming out of a crashed airplane to becoming a wild animal. Through watching these TV shows, I am able to draw inspiration as well as recognize what I didn’t feel worked best to suit the artist’s ideas. I plan on creating contemporary versions of the characters within these four Fairy Tales by combining my makeup artistry as well as costume stylization to best fit the character’s disposition within each story.
Through the evolution of my artistic practice, I have discovered my growing passion for makeup artistry as well as costume stylization when combined with photography. There are so many possibilities with the inclusion of these art forms, yet I continue to try creating works that produce some kind of shock value for viewers. This shock or horror viewers may attach to my images is often due to my imagery including real people with makeup effects as well as having some kind of narrative which most individuals can relate to. With this series of my own twisted adult versions of Rapunzel, Little Red Riding Hood, Hansel and Gretel, and The Three Billy Goats Gruff, I hope to do just that; to produce images that may shock or disturb viewers, if not shock, to at least spark an interest through the viewers’ relationship to these Fairy Tales.
Why can’t Little Riding Hood walk alone at night, as long as she has something to protect herself? If you had to walk alone at night, would you walk in fear as the classical story suggests or would you be prepared to protect yourself as my story will suggest? Like my version of Little Red Riding Hood, I aim to have my Fairy Tale series connect to the audience in some way; whether it be through the adolescent morals within the traditional stories or through my ability to expose new life lessons within my stories. If my series of photographs are overlooked and the stories within them are not read, then I did not accomplish my goal. A photo passed by is a photo not worth taking.
Bibliography
Anathema Photography. n.d. Web. 20 Nov. 2013 <http://anathemaphotography.com/>.
Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Random House Inc, 1989. Print.
Johnson, Sickels and Sayers, eds. Anthology of Children’s Literature. Fourth Edition. Boston: Houghton Mifflin Company & Cambridge: The Riverside Press, 1970. Print.
Joosen, Vanessa. Critical & Creative Perspectives on Fairy Tales: An Intertextual Dialogue between Fairy-Tale Scholarship and Postmodern Retellings. Detroit: Wayne State University Press, 2011. Print.
Joshua Hoffine. 2013. Web. 12 Nov. 2013 <http://www.joshuahoffine.com/#/1>.
The Brothers Grimm. Grimm’s Complete Fairy Tales. San Diego: Canterbury Classics/Baker & Taylor Publishing Group, 2011. Print.
The Classic Fairy Tales. A Norton Critical Edition. New York: W. W. Norton & Company, 1999. Print.
Within my images, I like to tell a story. In the past I have recreated non-fictional horror characters such as Elizabeth Bathory and Ted Bundy. I created each character how I envisioned them in my mind after gathering more details of each serial killer’s history. With learning about these unbelievable details that had happened in real life, I wanted to portray each of these characters as realistically as possible. Then in turn bring the same horror to viewers that I had felt when reading about their biographies.
Once I had finished my versions of these historical killers, I wanted to produce some of my own stories and characters which could appear realistic. I was interested in discovering whether the recreated non-fiction or the realistic fiction would have a more powerful reaction. To my surprise the fictional characters which I created such as a murderous Candy Man; that lures children, and the Magician and Clown duo; that put on a show to attract unsuspecting viewers to their demise, had more shocking reactions than their real world counterparts. Viewers would often explain that this higher shock value within the fictional character images was evident because the characters I created were so relatable to their own experiences or fears, while also taken to extremes; for example: taking the fear of clowns and making images of a murderous clown that has jagged teeth with an abnormally haunting clown face.
After creating photos which evoked horror, I decided to investigate if anyone else had created imagery that was similar. Little did I know, there are photographers who approached horror in a similar manner; aiming to evoke fear. These artists are titled ‘Horror Photographers’. Joshua Hoffine and Danielle Anathema are two Horror Photographers I have discovered. Joshua Hoffine’s work commonly focuses on childhood fears. He creates his scenes like small movie sets using special effects makeup, costumes, props and lighting which he then photographs his ‘actors’ or children within, creating an image much like a movie still. As Hoffine states, “I try to present the images within the visual grammar of a child. I want the viewer to share their point of view, to feel their sense of vulnerability…” (Joshua Hoffine). Anathema’s images are created through a similar nature. Makeup, costumes, and props are very evident, however; the images are less like captured movie stills as Anathema uses much more post production Photoshopping to create the final product. Her images tend to be produced for a much more adult audience. Anathema explains: “The darkness can be mesmerizing, scary, romantic and humorous. Through my photography I am able to express my passion by capturing the world of horror, humor and erotica through the eye of my camera” (Anathema Photography).
After looking at various artists such as Hoffine and Anathema, I decided for my next body of work I wanted to incorporate various artistic elements that I felt make their works so strong into my own work. For example: Hoffine’s tactic of relating his images to childhood fears allowed for all viewers to relate, as everyone was or is a child, making the horror he wanted to evoke that much more successful. I felt that Hoffine’s means of creating his images by making small movie sets and using little Photoshop also made his images more fear evoking. Less Photoshop lends to a more realistic nature to the image. Anathema, on the other hand, creates horror works that are erotic and much more adult, steering away from the idea of the image being only seen through a child’s eyes. I personally believe having adult imagery offers another realm of horror to the images. Just as an R-Rated horror film is often more horrifying than a PG-Rated one.
Using these observations I decided to create a series of images that are relatable to the majority of viewers. I went on to recreate well known Fairy Tale stories I remembered from my childhood. However; I didn’t want my recreated versions of Fairy Tales to be PG-Rated as I have decided Anathema’s work was successful due to her theme of erotica aiming for adult audiences. The stories I have chosen include Rapunzel, Little Red Riding Hood, Hansel and Gretel and The Three Billy Goats Gruff. I chose these stories specifically because they have different underlying life lessons or meanings behind them that I am able to shift into my own twisted R-Rated versions.
To create my versions of these well-known Fairy Tales, I’ve researched various books on the topic which contain multiple versions of each story as well as individual interpretations on the meanings found within them. I then discovered the original stories are far more adult than the current contemporary versions which were made suitable for this era. For example: the original Little Red Riding Hood is actually called “The Story of Grandmother”, and it involves the wolf killing the Grandma before Red Riding Hood Arrives to her Grandma’s house. The wolf proceeds to put the Grandma’s flesh in the pantry along with her blood in a wine bottle. Once Red Riding Hood arrives at the house he tells her to undress and grab some meat and wine from the pantry in an attempt to seduce her (The Classic Fairy Tales). The original version reads much different than the story most of us know and in my opinion is much more as it directly relates to the rape of a young girl as well as bestiality and cannibalism.
Makeup and costumes play a big role in portraying these characters the way I would like viewers to read them in my revived versions of the Fairy Tales. Most of my makeup inspiration is drawn from watching numerous episodes of reality TV shows such as Face Off and Top Model. Face Off is a search for the next greatest makeup artist which challenges various artists to do full makeups and costumes to create unique characters based off of the various challenge criterias presented to them. They use a wide range of materials anywhere from foam latex faces to cotton candy hair. Top Model is the search for the next greatest model. The show consists of a large crew which involves multiple makeup artists and stylists that stylize each model for various photo shoots. There have been makeups done anywhere from zombies coming out of a crashed airplane to becoming a wild animal. Through watching these TV shows, I am able to draw inspiration as well as recognize what I didn’t feel worked best to suit the artist’s ideas. I plan on creating contemporary versions of the characters within these four Fairy Tales by combining my makeup artistry as well as costume stylization to best fit the character’s disposition within each story.
Through the evolution of my artistic practice, I have discovered my growing passion for makeup artistry as well as costume stylization when combined with photography. There are so many possibilities with the inclusion of these art forms, yet I continue to try creating works that produce some kind of shock value for viewers. This shock or horror viewers may attach to my images is often due to my imagery including real people with makeup effects as well as having some kind of narrative which most individuals can relate to. With this series of my own twisted adult versions of Rapunzel, Little Red Riding Hood, Hansel and Gretel, and The Three Billy Goats Gruff, I hope to do just that; to produce images that may shock or disturb viewers, if not shock, to at least spark an interest through the viewers’ relationship to these Fairy Tales.
Why can’t Little Riding Hood walk alone at night, as long as she has something to protect herself? If you had to walk alone at night, would you walk in fear as the classical story suggests or would you be prepared to protect yourself as my story will suggest? Like my version of Little Red Riding Hood, I aim to have my Fairy Tale series connect to the audience in some way; whether it be through the adolescent morals within the traditional stories or through my ability to expose new life lessons within my stories. If my series of photographs are overlooked and the stories within them are not read, then I did not accomplish my goal. A photo passed by is a photo not worth taking.
Bibliography
Anathema Photography. n.d. Web. 20 Nov. 2013 <http://anathemaphotography.com/>.
Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Random House Inc, 1989. Print.
Johnson, Sickels and Sayers, eds. Anthology of Children’s Literature. Fourth Edition. Boston: Houghton Mifflin Company & Cambridge: The Riverside Press, 1970. Print.
Joosen, Vanessa. Critical & Creative Perspectives on Fairy Tales: An Intertextual Dialogue between Fairy-Tale Scholarship and Postmodern Retellings. Detroit: Wayne State University Press, 2011. Print.
Joshua Hoffine. 2013. Web. 12 Nov. 2013 <http://www.joshuahoffine.com/#/1>.
The Brothers Grimm. Grimm’s Complete Fairy Tales. San Diego: Canterbury Classics/Baker & Taylor Publishing Group, 2011. Print.
The Classic Fairy Tales. A Norton Critical Edition. New York: W. W. Norton & Company, 1999. Print.