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The Film Series is unique way of inviting the viewer to directly relate the medium being used with the subject in the image. Most photographers will attempt to divert the viewer away from ascribing the piece as being a product of film. In this series, the film is boldly displayed, entwined with the subject. The film stretches and curls in an image reminiscent of a DNA helix. This parallel invites the viewer to see that the image is in fact a product of film, and like the DNA strands that piece together to construct the beautiful curves of the model’s body, so too is the image constructed from film to display its beauty.
The model's face is obscured in most images which expands the possibilities of interpretation of each individual viewer; possibilities that might be otherwise limited by the attachment of unfavorable expressions or qualities to the models’ face. Instead, the obscurity of the model's identity against a background where cinematic elements are evidently part of the image enables the viewer to attach a universal identity to the model. The universality of the theme depicted does simply not allow for the constraint of the interpretation of the work by the overly identifiable identity of the model.
The Film Series use mostly black and white nude body parts in sharp contrast with the black of the filmstrips to make a statement about gender, its presentation in cinema, and the different personalities that can be attached to the female form. The posing and set are kept quite simple and most pieces provide a close up from a distinctive angle, which underlines the many available interpretations that the different curves and lines of the female body offers to the viewer; a diversity of interpretation that should therefore not be limited to one distinct identity but attached to a universal and well conceived concept: the role of the cinema in presenting the personality and figure of the woman; a role that should be ideally, similarly to the images in these series, dramatic and diverse yet also sensuous and elegant.
© Robert WK Clark
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