DOUBLE-FACE Draft portrait photography.
"Drag Faces" is a project of cataloging and collection survey, scientific research combined with the desire to play with a construction technique of the portrait of installation, the subjects of their appearance in "probable" and thus more close to possible to real but at the same time deprived of visual shock flash circular (used in scientific photography to eliminate shadows around objects).
Desire for scientific rigor coupled with a veiled search for affective tone. The presence of the photographer, I think it is inseparable from any photographic results but research conducted in this case is the possibility to step aside, to be director and leave only half the power of choice and interpretation of the subject and the successful installation of the expression. Post
two lights at 45 degrees to the subject in an attempt to eliminate as much as possible and then shade the personal interpretation of the photographer, the subject is free to express themselves within a set checked.
The ambiguity is central to the work, while the figure of the double, the split personality of the individual and his alter-ego, pure and impure, homogeneous and hybrid
individual face and social face.
The timing is just right for the shot with the sole expectation of facial muscle relaxation, with achievement of the loss of stiffness of the person posing (and this is essential for the patience), then soon after, in freedom of expression, will be almost the only one to decide which idea to give of himself; graft metaphysical alter-ego/avatar , mutant identification and multiplication of the IO and together find a resemblance to the reality that implies credibility, el indisputable reality itself.
The juxtaposition of two communicating identity transmitted by the same body, conveyed by the individual male / female alternation, creates confusion of roles.
Doubt on pretense of either undermines the stereotypical assumptions that the "common" is even the "possible". Casting
that inadequacy and leads in the 'iperdonna "alter-ego that is so important but simulated in the subject than it has the same identity, becoming also a symbol of a feeling with feeling.
's alter-ego can afford to express what the identity and primary is not allowed in the case of drag queens, as well as image work, strength and independence of a second I look familiar, but never the same as I, and created the the same time creator of views.
I tried my subjects on the Internet, mostly via email and chat on facebook. Some never responded, others are both have shown interest in the project is the possibility of having some shots that you can use for their work (do ut des). These people contacted me and came to my little studio to pose. I did not know anything about them. I had never seen before except in photos for online profiles. It 's a work in progress, do not think I have done and will continue till I have enough pictures to compare to my search for authenticity.
I did not direct the set just to free up space expressiveness of everyone.
The set is composed of the top two lights at 45 ° with Diffusion tissue, then is not touched; lamacchina is almost nella stessa posizione e il soggetto è seduto nello stesso punto prima e dopo il trucco con l’unica mia richiesta, a fare da traccia, che faccia ciò che vuole davanti all’obiettivo e con i tempi più spontanei che esistano ma alla condizione che le pose esprimano l’autenticità del personaggio che posa.
Se posa l’uomo quatidiano, la richiesta è quella di semplicità e spontaneità senza finzione; se invece posa il suo doppio, la drag-queen, la richiesta è quella di pose che esprimano la “personalità del personaggio”.
E’ qui che avviene la contaminazione; è vero che in un ritratto soltanto non si può ottenere l’esplicazione del carattere e della personalità del soggetto, che in quel caso sarà solo il ritratto di un soggetto e non il soggetto stesso, tuttavia, credo che in questi 2 ritratti si possa ricercare la verità nella finzione e la finzione nella verità.
“QUEL CHE STAVO DICENDO E’ CHE COSTA MOLTO ESSERE AUTENTICHE, SIGNORA MIA, E IN QUESTA COSA NON BISOGNA ESSERE TIRCHIE, PERCHè UNA è TANTO PIù AUTENTICA QUANTO PIù ASSOMIGLIA ALL’IDEA CHE HA SOGNATO DI SE STESSA”
Dal monologo di Agrado
“Tutto su mia madre”
P. Almodovar.
