Final Two-way Mirror shoot

The previous shoot granted me technical success regarding the lighting and the reflections. But there were a few things that needed addressing before I tackled the final shoot. The framing was a bit too tight in the previous images – sometimes just cutting off the top of my head (part of this is due to the fact that some of the poses involve a tension throughout the body, and hence my head tends to vary its position within the frame). The simple solution to this, was to zoom out for the shoot and then crop back in tighter, in post-production.

The other issue with the previous shoot was that my performance felt a bit ad hoc. It was essentially just a test shoot - but it drew my attention to the fact that I needed to plan my poses. I was aware that I had already rehearsed the poses (without really meaning to) in my engagement and play in front of a normal mirror, and there were certain expressions that I wanted to capture. I wrote a list of my ideas: 'make the face as vertically stretched as possible', 'as squashed as possible', 'every feature big and swollen', 'small and thin', 'this side up and the other down'; and then drew up a quick guide with simple diagrams or words to represent my ideas. This then served as a rough guide and reference point for the performance. It wasn't a complete instruction manual, because spontaneity in front of the mirror ('going a bit wild') was a useful method in this production.

Here's a contact sheet of the majority of the shoot (minus some errors and repeats). The difficult decision-making process of which ones to exhibit now begins.

I also shot some video on the day. The first is a video performance alike to the photographs. It is a combination of the rehearsed expressions from above, and spontaneous play acting similar to that found on the Gorgeous Georgeo video blog. The second video is a technical explanation (or 'making of'), of how the two-way mirror images were produced. 

The Two-way Mirror Project

The initial test shoot with the two-way mirror rewarded me with little, but taught me a great deal. The most significant lesson learnt was that it's all about the light, of course!

A two-way mirror is essentially a normal piece of see-through glass or acrylic, but with a sort of 'semi-coating' of reflective foil (a normal mirror has a full, light-impenetrable coating), which means that it has the ability to allow light to pass through, as well as reflect it. The function of a two-way mirror is dependant on the ambient light on either side of it. The side intended to behave as a mirror needs a lot of ambient light, so that it bounces back an image, and the see-through side needs to be dark, so that the image will pass through. Another explanation is provided by the very helpful people at mirrorworld.co.uk (where I purchased mine from):

In reality this means that the two sides must be isolated from one another and the difference in light needs to be dramatic. In fact, if I wish to produce pictures which will appear as straight portraits, then the 'window side' needs to completely dark so that the camera doesn't see itself in a partial reflection.
My solution to this - bin bags. And clothes pegs.

This way the camera sits in a completely unlit environment, and as far as it is concerned the mirror is effectively a window. Meanwhile the subject (me) is well illuminated by the studio lights, and experiences only a mirror. And what does this particular subject do when he encounters a mirror...

Gorgeous Georgeo begins

The Gorgeous Georgeo video blog is now running. In short this aims to be a regularly updated diary of webcam performances - displaying a general indulgence of trivial aspects of my personality, experiences, thoughts etc. The motive of this is to investigate the desires (of me/of everyone) to be celebrity/revered/known through attempting humour.

The larger project is titled The Self-Indulgence of Gorgeous George, of which a detailed explanation can be found here. Also relating to this work, is the research I conducted into self-mockery within self-portraiture, which is summed up here.

Still from Face Rub

Stills from Arrow Shot, Self Videos

Symposium Playback

Self-Portrait, Self-Mockery, The Mirror. Here is the audio track for those of you that didn't make it to the symposium.

Self-Portrait, Self-Mockery, The Mirror.

Two Purveyors of Eccentricity

A late edition to my presentation, among other small adjustments, following the feedback from last Friday's rehearsal, is the dancing sculpture work of Gilbert and George.

Throughout the research, artists that approach with an autobiographical perspective have been of greatest relevance. It has been especially interesting when the trait of self-mockery appears not only in the photographs or video they produce, but also in their presentation as practitioners – a trait ingrained in their personality. Gilbert and George's personality, or rather their joint persona (along with their humorous and ridiculing exhibition of it), is at the forefront of their 'singing and living sculptures' work, in particular their video piece Bend It.

Their recent appearance on This Week, discussing eccentricity and weirdness (it also features extracts from Bend It) can be found here.

Gilbert and George Bend It (still)

Self-Mockery within Male/Female Self-Portraiture

Although it was never a planned enquiry of my investigation, an interesting issue of gender has arisen in my research. Without intention, all of the photographers/artists that I have chosen as suitable examples for my argument, are male. It seems that self-mockery within self-portraiture is a behaviour or endeavour more suited to men. I can see this relating to the fact that men seem to be dominant in the profession of stand-up comedy, and many comedians display self-mockery, or if not that, then a readiness not to take oneself seriously.

Women's self-portraiture tends to relate to more serious issues, notably often femininity or female identity. It seems to me that the female gender is the one more loaded with potential for reflection on its role and reception as a gender in society, simply because of its historical cultural background. When humour is used it tends to be more outwardly than inwardly critical – think Sarah Lucas, Tracy Emin or Julie Pochron. The male self-portraitist however, seems to have greater ease at traversing into a self-mocking stance. 

The two examples of women using self-mockery I came across are the films of video artist Shannon Plumb, and Anna Fox's series Super Snacks. However Plumb's work doesn't seem particularly inward looking or in anyway autobiographical, and Fox's work comes across as rather despairing humour. 

Shannon Plumb - The Corner (still)

I think, without intending it, the type of self-mockery which I have come to understand and question originates from the male reflection on his own inabilities or shortcomings. Naturally that is the self-mockery which I can relate to.

Taking this male reflection further, Bjorn Veno's blog is an excellent exploration into man's place today, and also this post 'The good men are not needed' by Danny Ledonne.

Self-Mockery from Sociology

I've managed to find a journal article that is specific to self-mockery, and which has provided me with a much needed theoretical resource to support my concluding points. Self-Mockery: An Alternative Form of Self Presentation is written by the sociologist Sheldon Ungar, and was published in 1984. I located the article in the 'Academic Search Complete' database and had to request if with 'document supply', and eventually had it provided by the British Library. Although the article may be dated, the points Ungar raises are still very relevant today and the following are particularly useful to my angle of enquiry:

"By revealing undesirable qualities, one can attenuate the feelings of envy and resentment that often accompany impressive images; such revelations can also decrease social distance among interactants."

"By calling attention to their own foibles, performers not only disarm others, but also affirm standards or rules in a fashion that is likely to augment positive sentiments among the participants. (Admissions of one's inadequacies can be infectious: other participants may be then likely to recount their own related foibles.)"   

"..brief ventures into the unserious realm allow the performer to reveal aspects of the self that would otherwise be out-of-place. Furthermore, one can reveal weaknesses or faults and, by viewing them in a humorous vein, still retain one’s dignity and status." 

The above quotations back-up notions which I had suspected were occurring – the idea that self-mockery is a social tool used by an individual to create positive feeling to those he presents himself to. Also, although originating from self-criticism, self mockery allows one to bring their flaws to the fore in a favourable manner. And then it can be seen to result back to a self-centred behaviour – used to gain social ground – which brings up the idea of a perpetual oscillation between self-mockery and narcissism. This 'see-saw' is very much at evidence in my practice, and although I see no solution to it yet, perhaps I can conclude this talk with my hopes to unravel it.