"Un Chien Andalou" (1929)
Like a lot of people, I thought I was super artsy and cool and obscure as a teenager when I watched this movie after learning about it from The Pixies’ “Debaser.”
allah’ım kaderimde anarşi ve protesto
antideprrsanlar ve içi boş bi gardrop
ne de çok yer kaplıyor mesela Al Paçino
yardımın gerekiyor. kadiköy’deyim.Stop.
İçimde muhakkak bir yer paramparça olmuştu ki, ağlayamıyordum.
- Sait Faik Abasıyanık (via filmlerdeoyleolur)
Life Once Removed
A personal photography project about what is essentially…Spinsterhood, and the American Way.
What would drive you to pack a family of mannequins into your station wagon, and take them on a road trip? Enough pressure to conform will send anyone packing. That’s how I came to this personal project about what is essentially…Spinsterhood, and the American Way.
Well meaning strangers, along with friends and family, would raise an eyebrow when the topic of my unmarried and childless status arose. Indicating with a small facial twitch, not only my audacious freakishness, but that I was a little old for such foolish thinking. I mean, come on, eggs don’t last forever!
But really, what was I supposed to do? You can’t just go out and buy a family. Or can you? I did. They are mannequins. The candy coated shell with nothing inside. We do all those family things, all the while capturing those Kodak Moments. Because it’s not really about the journey, or a genuine human connection, when you’re kids are screaming, “are we there yet?” Is it? It’s about the picture in front of the sign. “Get back in the car, we got the picture. Now, let’s go eat.”
We love & obey the formatted image of a well-lived life. So deeply ingrained is that strange auto-grin we put on when a camera is present. Do we live our lives with a keen awareness of how it feels, or just how it looks?
If I pass through life without checking off the boxes for a wedding ring and a baby carriage, I will be missing the photo album, but not not the point. When I take my photos, others stop and stare, then they ask, “why are you doing this?” They, at that moment, are starting to get the point too.
Bette Davis, 1937
’99 Variations’ - Self-portrait.
It is the metamorphic alchemy of the camera and the mirror.
Inside me, there are gods, men and women, and androgynous mutants. They co-exist with my present self, and ‘we’ are all interrelated.
I brought a key, the camera, opened the door to the secret passage, the mirror, woke up my mythical archetypes, and lured them out into the world.
To be connected to another ‘me’ reflected in the mirror, with an endlessly switching spot, is a kind of communication that blurs the distinction between the image and the reality. Which, I discovered at the end of my work. Music was turned on, and I took pictures of my selves while I danced and acted.
Yeah Screw all the people my Baby Janes!