The word 'critical" has three meanings which are dangerous, important, and disapproving. The purpose of this blog is to examine important or over-looked cultural, political, artistic, or historical issues of our time. Also, this blog is intended to be educational.
Sunday, June 4, 2017
The Photography of Laura Stevens
Stevens (b.1977) is an English photographer based in Paris, holding a BA in Art
and Design and an MA in Photography from the University of Brighton. Stevens’
series of narrative portraits represent and fictionalize personal situations,
using cinematic drama and painterly aesthetics along themes of intimacy,
relationships and loss. Her work has been exhibited internationally, in the
National Portrait Gallery, The Latvian Museum of Photography, The Centre for
Fine Art Photography, Arles Photography Open Salon, Encontros da Imagem and the
Singapore International Photography Festival.
was awarded a special distinction in the LensCulture Emerging Talents 2014,
selected for the PHPA (Photo d’Hotel Photo d’Auteur) 2014, The Taylor Wessing
Portrait Prize 2013, a Magenta Foundation’s Flash Forward Emerging
Photographers 2012, received medals in the Px3 Prix de la Photographie Paris
2014 and 2012 and an honorable mention in the LensCulture Exposure Awards 2011.
Alongside her dedication to long-term personal projects, she is a regular
contributor for the press, for publications such as Times Magazine, The
Washington Post, Le Monde and ForbesMagazine, as well as photographing for
Laura Stevens In Her Own Words
Following the ending of a significant
relationship in my life, an undoing began. Whilst adjusting to being a single
woman, I started to create a photographic narrative based on the experience of
losing love; directing other women to portray the gradual emotional and
circumstantial stages, along the well-trodden track of the broken-hearted.
By constructing images of the
evolving chapters, I was allowed a vantage point from which to view the changes
occurring in me, from feelings of pain, confusion and loneliness towards the
reconstruction of my identity as an individual.
The series of staged
performances by different women, of whom are friends or those I had been drawn
to from the street, are enacted to show an intimate moment of adjustment. They
are seen isolated, surrounded by textures, color and empty spaces in a room of
their home in Paris.
Another November is situated in
a deliberately nostalgic present where memories are constructed and irrevocably
discolor, looking back to a past not yet acquainted with loss. Yet, it is a
reminder that time, the arranger of all things, moves only in one direction.