Interdisciplinary in my practice
Interdisciplinary in my practice s paramount to the progression of my current project. Often, I take influence from other artistic mediums and theoretical studies to fuel my understanding of the chosen topic. The current project Cranium Captivity, although in the very early stages, has already been largely influenced by multiple areas such as art, cartoonists, photographers and film. The mask's facial features in Cranium Captivity, (fig.1), was influenced greatly by caricature artist Tom Richmond (fig.2), Ralph Meatyard (fig.3) and Inge Morath & Saul Steinberg project The Mask Series, 1962 (fig. 4) and Frank Sidebottom (fig.5). The mask needed to have exaggerated features and amplify the fatigue feeling symbolic of the vicious cycles of societal pressures. Meatyard use of masks to create an interesting viewing point, adds to chilling atmosphere as well as stimulating an ambiguous narrative allowing the audience to connect through their own interests and relatability. In addition, Inge Morath & Saul Steinberg quick handed masks as quirky the style the aesthetic was not what I wanted to take forward into my masks the mask will be the constant throughout all future shoots. However, the absurdity of the facial features, the unrealistic human connotation of the masks adds a sense of relatable and recognised human-like quality, something I wanted to pursue in the mask.
Like The Mask Series, 1962, Frank Sidebottom created by Chris Sievey was another source of inspiration for the mask. The sizing as well as the nonsensical aesthetic created by Sievey emulates a comical relatability to the character acting as an alternate persona, juxtaposing the man underneath who towards the end of his life 'Sievey struggled with alcohol problems before his death at the age of 54. He was virtually penniless when he died' (Youngs, 2019), the juxtaposition emulated by Sievey's alter-ego is very much an attribute I want to pursue when considering how the mask will be presented. Considering the initial idea of producing a series of comical situations replicating the societal pressures instilled on people in their 20s, the absurdity and juxtaposition reflected by each source of interdisciplinary practice, correlate with the initial interpretations and thoughts surrounding my future shoots. In addition, the 2014 movie Frank, fig.6, reflects the absurdity of the head accompanied by the mundane everyday activities generates a sense of sadness or perhaps a social commentary of fatigue to the perspective of life.
Additionally, the head acts as a relatable persona for the audience, considering Goffman's theory of The Performance of Self, 1959, 'In line with this, there is the popular view that the individual offers his performance and puts on his show ' for the benefit of other people.' (Goffman,1959) the show exhibits the ideologies of persona development in accordance to the stimuli surrounding said person. Complementary to the personas reflected in fig. 3, 4 and 5, the use of masks further emphasises the ideas of alternative personas and performance which is prevalent in my current project. Thus, taking inspiration from these interdisciplinary sources is paramount to the progression of the work but in also communicating the relatability of character within the narrative.
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Khan, S., 2020. Erving Goffman, The Presentation of Self in Everyday Life (1959). Public Culture, 32(2), pp.397-404.
Youngs, I., 2011. Getting inside the head of the man who was Frank Sidebottom. [online] BBC News. Available at: <https://www.bbc.co.uk/news/entertainment-arts-47570284> [Accessed 26 June 2022].
