Domestic Camouflage Statement
"Domestic Camouflage," 2010-2011 is a series that was greatly inspired by the novel, "The Yellow Wallpaper" by Charlotte Perkins Gilman and photographer, Francesca Woodman. Now deceased, there is little documentation of Woodman's thoughts or intentions of her work, but by studying her images you can see repetition and patterns of her interests. Gilman's novel and Woodman's photographs question identity and space.
In this series, I dedicated my interests and research to woman in society and how identity functions within certain domestic spaces. I address the traditional roles of woman by placing myself in a domestic space and interacting within it. I chose to create self-portraits because when the photographer functions as both the maker of the photo and the subject, the photographer is taking a very active role in creating the image. By controlling the image this way I am representing what the traditional woman had little of.
I use interior space for my self-portraits and I try to hide myself within the space or emerge out of the space. Many women had such a strong connection to their domestic space they became a part of it and even symbolically allow the space to represent themselves more than their own physical body. For example, in “The Yellow Wallpaper” the room she stays in, very symbolically becomes her prison from others and the outside world. The windows are barred and the bed is nailed to the ground. She is kept as a child with no privileges and no acceptance to think freely on her own. Because of her entrapment, she looses identity of herself. The spaces within my photographs are are those that I can relate to and I am familiar with. And doing so, my relationship to the space is physically and psychologically important to the image.
The representation of my identity in each photograph is not fully visible nor completely hidden but shows a connection or entrapment within the space. I leave room for the viewer to interpret the search for identity and independence from the space. An open-ended narrative allows the audience to view and place value on what the images might mean without specifying what it has to mean.