One of the things that I found really interesting were her ideas about workflow and why it's necessary for her. She talked about always having to have at least two or three different projects going before ever beginning to show a finished series of work. The reason behind this for her was that she has a really hard time with self confidence and she said if she finishes one work and it's going well she has the tendency to feel like it's the last good thing she'll ever do. But, by keeping busy with a multitude of projects she can bounce from one to another and never really get to feeling down about a particular one. I thought it was amazing to hear such an amazingly successful artist confront this so candidly.
Three Words: Antiquated, Ambiguous, and Daring.
Questions:
1) What does working with an antiquated process do for your work? How is it more than a gimmick? She spoke to this directly by saying that she chooses each specific process for each project and that the process then relates to the work. Such as using ambrotypes involving these fragile glass plates on projects dealing with the vulnerabilities of human life.
2) Your images seem to impart a sense of "aloneness" or isolation. How do you deal with that as a theme within your work, and is it something you strive for? I think that maybe what I was seeing was more of a sense that nothing else in the world matters at that moment except what's in the photograph. There is a great amount of focus or singularity within her work.
I really enjoyed seeing all of the work from the proud flesh series of work after hearing the lecture. The her idea of the feminine gaze is intriguing, and the work is just amazing. As a man there is usually something slightly awkward about viewing male nudes, but I didn't encounter that with this work. I think it was the idea of knowing that a woman took these photographs and knowing that in a way I was seeing things from her perspective.
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