Cœur (part one)
...last vestiges of childhood
Cœur (part one) tackles the problematic binary, often presented as the only choice: art or children. It resents the fact that female artists who happen to also be mothers feel they need to keep the two sides of their identity separate: secret mothers, infiltrating the house of art. In other words, it is an honest effort to treat motherhood as a cause for jubilation instead of an unfortunate or even catastrophic event in a woman/artist's life.
This project is a personal collection of intimate portraits that explores themes of identity, individuality, longing, innocence, and vulnerability in young siblings. There is a sense of tenderness and curiosity in each frame aiming to become something timeless and beautiful to celebrate the fleeting nature of childhood. What does childhood mean, and how does it feel?
Through the use of cold color temperature and tones, tight frames and strong staged lighting that emphasizes the strength of their facial features without showing emotions up close, Cœur takes a page from Ellen Heck's Forty Fridas in the way the children face the camera face-on. It also hints at Sally Mann's Immediate Family project through veiled nakedness and the apparent sense of collaboration of the children in their mother’s work.
- Visual Influences
Giuseppe Simpatico - His style tends to be raw and organic which doesn't seem like an approach for the soft lines of a child's face. But his unique texture and colors surprise his audience and the final result is rich in emotion.
Mary Cassatt - She often used models to portray the mothers, and the children were not the real child of the "mother" in the painting. This means that they have staged paintings, something like a still-life, but with people rather than fruit and flowers.