The beginning of my Photography domain.
She was born in 1971 in Belfast, a British photographer she mainly studied at Edinburgh University and also at The Royal College of Art in London. Her earliest work was produced in the mid 1990s, and it suggested an approach of conventional/documentary that her photographs seemed to have a sort of theatrical character to them, similar to the works of George Crewdson. Very often the people that Hannah portrayed in her photographs seemed to be both bored and melancholic. They held the appearance that they were waiting for time to pass them by. She goes on to describe her work as being of explorations of everyday experiences and observations.
Some of Hannah Starkey’s photographs are of actors within a carefully considered setting, she reconstructed scenes from everyday life with the concentrated stylisation of film. Her imagery is mostly of women and she engages them in regular day to day routines such as walking down the street to just sitting in coffee shops and even shopping. Her still photography can be seen as somewhat freeze-frames, as though they have been captured in a film and they are a film within a particular scene. This creates reflective these reflective instances of both isolation and conflicting emotion seen within the people/women she chooses to photograph.
Throughout her staged film still photographs, her images seem to evoke and raise issues such as; gender, class, race, and identity with the women used in the photographs. These can be said private moments are captured with a Melancholic Filter. Starkey within her camera frames tells stories through her photographs, much like I think a majority of the photographers I have been researching do. Mainly built around a female character that is located in a anonymous/urban situation. One example of this from her is called, ‘Life in a Fishbowl’.
My Thoughts and Influence
Whilst observing some of Hannah Starkey’s I again, like the other photographers I have been researching I tend to correspond to the approach she withholds when taking her photographs. Her photographs take as I’ve said a conventional/documentary approach in her way with the use of melancholic filters. Like Starkey I have expressed previously that I want my project to be unordinary, her photographs are said to have a sort of theatrical approach to them. With my plans to use a number of installations in my final project piece, I feel I am wanting a similar outcome. I’m taking an everyday concept, death something we all witness, come to experience in our lives and making a project out of the different opinions and believes on the subject.