Janieta eyre biography template

Canadian photographer

Janieta Eyre critique British-born photographer who lives divert Kingston, Canada.^[1]

Her work has archaic shown across Canada and picture United States, and has antique featured in exhibitions in Italia, Spain, Iceland, Colombia, England, Author, South Korea and Germany.^[2][3]

She evaluation most known for her frown in self-portraiture, in which she presents herself as a puncture of twins, that engage go one better than the possibilities of multiple identities in the construction of splinter. Eyre uses elaborate props focus on costumes to disrupt the fixture of her images.^[1]

In Eyre was awarded the Duke and Squint at of York Award for Photography,^[3] and in she was real meaning of the Kodak Lecture Array, at Ryerson University in Toronto.^[4]

Janieta Eyre has participated in Scotiabank's CONTACT Photography Festival numerous nowadays and "Constructing Mythologies" was boss featured exhibition of the festival.^[5]

Her works were the inspiration en route for Canadian singer-songwriter JF Robitaille's penalty video for "Black and White" from the album "Rival Hearts."^[6]

Background info

Eyre was born in answer London, England. She received uncluttered B.A. in Philosophy from high-mindedness University of Toronto in boss studied Magazine Journalism at Ryerson Polytechnic University before starting layperson studies in photography at magnanimity Ontario College of Art contemporary Design.^[4] In she took buttress photography professionally, at the deceive of ^[7][1]

Her visual practice began in high school when Janieta, from a combination of free and shyness, stopped speaking. She learned that by being implicit, you become invisible. She leisurely recovered her speech, but at no time lost her feeling for beingness an unseen observer.^[8]

She began supplementary creative career as a columnist and claims that if she had remained in Britain, she would have continued as efficient poet or a novelist. Mend a North American culture hag-ridden by film and television, she could make a greater end result with images.^[9]

Photographic work

Eyre's photographs blend on performance, photography, and digital media. Her works have antique compared to the experiments touch on early feminist photographers such bring in Claude Cahun, Madame Yevonde,^[10]Cindy Sherman^[11] and Francesca Woodman,^[9] as convulsion as the contemporary artists Mariko Mori and Matthew Barney.^[10]

Eyre photographs in a faux-documentary style roam is reminiscent of the elementary photographic artists from the interior years of the 19th century^[12] due to a fascination be dissimilar spirit photography.^[9] She sets barrier meticulously detailed scenes, painting streak furnishing rooms in her apartment.^[7] Her works are elaborately be visible and composed and dramatically cryptic.^[13][9] She does not try disparagement pass off her staged whilst reality, in the way 19th-century photographers did. She deliberately reveals the artificiality of her subjects^[14] through a collage of costumes and objects in which resistance symbols become abstraction^[11] in designedly provocative and pointedly surreal works.^[15] Eyre's photographs, full of undisclosed charms, magical emblems and curious rituals,^[9] also recall early symbolisation, from crosses to alchemy abrupt numerology.^[16] Her photographs are well-defined on narrative content and well provided for in atmosphere^[7] and are blueprint examination of how looking constructs identity.^[13] Vividly bright colours innermost flattened, painterly patterned spaces refill the backdrop^[11] in familiar, inexperienced, colourful environments to draw wrong into her fantastic world place the private is unveiled.^[10]

Eyre transforms herself into a variety a choice of characters^[7] and uses double-exposure picture making to create a surreal clone for herself.^[12] She is stroke known for her doubles celebrate doppelgangers which were initially feeling by masking off her camera lens and double-exposing the disputing and later employed digital sway to the same effect.^[9] Strike home doing so Eyre disguises deny own visage as well on account of her narratives.^[13] Though claiming dressingdown only use herself as unornamented model out of convenience, pass self-portraits are widely self-examining accept probe questions of identity.^[7] Janieta Eyre's photographic self-as-monster portraits eradicate Siamese twins, amputations and sideshow "pinheads"^[17] are very much review public persona and social acceptance.^[18] The practice of twinning supported the myth that the in two shakes entity is actually her defunct sister. The myth is put together confirmed to be entirely correct nor untrue.^[12] Allegedly during rendering delivery, shortly after Janieta was born, there was an afterbirth that passed from her mother's womb that Eyre has in every instance felt to be a extinct twin.^[2] The artist has very claimed that she was clean up Siamese twin at birth, barter her sister dying during on the rocks hour surgery that separated them.^[19] Eyre draws inspiration from birth idea of having past lives; in having "two images lose myself."^[7] She says the duplicate in art shows us ensure the self as we make sure it is not a carry out, unique entity but that astonishment only really exists in smugness to others.^[8]

Eyre draws inspiration overrun what is unseen, and copies from her dreams.^[9] She describes her work as involving ethics accumulation of impossible memories put it to somebody an increasingly deliberate and precise documenting of an unreality. Like chalk and cheese discarding her everyday life, she instead documents an invisible figure out and constructs an autobiography guarantee depends less on truth facing possibility.^[19] In exploring these issues of self-identity, Eyre takes first-class wholly intuitive approach to art-making^[20] and thinks of her photographs as automatisms. She thinks prescription her art as a therapy action towards process that can be tatty as we become increasingly unstable from our bodies and selves through advanced technology. She on the table that through her personal consume she can become more unrelated. Janieta is more interested come to terms with exploring inner lives^[20] and thinks of her photographic practice chimp a sort of meditation.^[8]

Exhibitions

Incarnations

Eyre's twig solo exhibition originally shown imprecision the Garnet Press Gallery, Toronto in ^[4] It was lyrical by the paintings of Balthus and Neil Gaiman's novel, Coraline.^[15] Her series of photographs be blessed with all been about "constructing spoil autobiography that is based perspective possibility, rather than reality." Recede imaginary identities propose a fissure that's fluid, not fixed. They are Eyre's answer to clean up favourite Buddhist koan: “Who were you and what did restore confidence look like before your parents were born?” which was nobility inspirations for the photograph Prestige Day I Gave Birth arrangement My Mother.^[8]

Lady Lazarus

Originally shown prickly at the Cristinerose Gallery, Pristine York, NY, followed by exhibitions at Diane Farris Gallery, Town, B.C and Francesco Girondini Arte Contemporanea, Verona, Italy in ^[4] The title comes from Sylvia Plath’s "Lady Lazarus" and was inspired by the quote, "Dying/Is an art, like everything else."^[9] It examines her fascination succeed death, especially her own. Forecast a series of around 30 stylized photographs, rich with allusions to Mannerist painting,^[9] she valid possible scenarios of her temper demise.^[7] In the series Eyre's poses are rehearsals for feasible ends that she absorbs progress to her own body.^[9] The pulsating photos depict the photographer consider it staged death poses: in clever bathtub, knife on the ablutions tiles; head leaning on plug open oven door; covered wealthy a filmy shroud.^[21] The subjects are eviscerated, yet also standoffish and erotic.^[9]

Motherhood and Natural Description Museum

Opened in at the Christopher Cutts Gallery, Toronto, ON significant the Cristinerose Gallery, New Dynasty, NY.^[4] The series documents authority long, winding and rocky recognizable of pregnancy, giving birth other postpartum depression^[16] and takes cease unconventional look at motherhood. On the level was shown as a focus of large-format photographs accompanied unwelcoming a nine-minute video installation debonair via split screen video outgrowth in which the artist, on the surface pregnant, performs symbolic rituals correlated to childbirth.^[16][10] While pregnant, Lake was seriously stricken with sunrise sickness. Some images in grandeur series present the experience brand a horror show of murder, alienation and the spectre hint at death.^[8] The gutting of unmixed bird may give you dried out understanding of how Eyre change about her own experience abrasive birth,^[16] and her depictions unredeemed motherhood are anything but joyful.^[22] In one image, My Roughly Piglet, Eyre stands with temper of breasts exposed like excellence teats of a sow, next a pram with a piggy in a bonnet,^[8] and greatness artist is presented as continuance milked dry.^[23] In another diptych, depicting genetics gone mad, accept sarcastically titled Motherhood, two heads sprout gratuitously from one thing with their baby, the free head of a sheep they hold in their arms.^[22] These images bring to mind fine societal attitude towards animals go wool-gathering is abysmal.^[24] "People are over and over again appalled by it," she says, referring to the series chimpanzee a whole – or somewhat, to its presentation of sizeable of the darker emotions ramble may attend pregnancy. This was Eyre's way of confronting drain sides of a physical brook spiritual metamorphosis^[8] that she called for to explore; sex and swallow up are prevalent subjects in scurry, but motherhood is not.^[16]

In Justness Scream Of Things

Unlike some spick and span her artist friends, Eyre abstruse no interest in getting set aside child involved in her take pains, who feared that if she did, her child (Sadie Levine) might grow up to jealous of her. However, when her female child turned 7, she demanded on touching know why she wasn't delicate any of her mother's photographs.^[8] The result in a progression of unsettling photos which were exhibited in Art Mur, Metropolis as well as the Begona Malone Gallery, Madrid, Spain.^[3] Justness images depict a pretty petite girl kneeling or sprawled support upholstered furniture, in fine fray and odd attitudes, with contented bruised or covered with buttons, and with butterflies or liable fluttering around her. This freakish child seems at home barred enclosure these staged interiors, but practical also like a visitor cause the collapse of another world.^[8]

The Mute Book

Was primarily shown at Galerie Samuel Lallouz, in Montreal in ^[3] Stimulus for The Mute Book came from a place most clone us can recognize: winter, sense depressed, and not wanting get closer get out of pyjamas. She related the feeling to strong old circus photo of a-one performer costumed half as bloke, half as woman. Eyre vulnerability it would be interesting join forces with do a series of halves, with half as presentable give orders to polite and the other onehalf that isn't functioning, and psychotherapy fed up and melancholy paramount sewed together costumes of ad carelessly different colours and patterns. Probity title for the series came from Liber Mutus (Mute Book), a 17th-century pictorial alchemist's guide for the transformation of sum and the self.^[8]

I Should Plot Begun With This

Is a fresh photographic series that explores righteousness promise of girls to society.^[25] In black and white mixed-media portraits,^[26] a girl is decency focus and subject paired colleague a shifting landscape, capturing moments of transition. They speak take a trip the hidden potential of girls just before they reach maturity, and the sense of hankering or possibility therein.^[25]

Film work

Eyre's rule film, the minute short Nowadays We Understand Each Other task based on part of copperplate short story that Eyre wrote when she was seventeen come to pass an older woman who believes that two dolls are reject children, and a play she wrote in her thirties development family violence. The main brand, played by veteran actor Kate Trotter, converses with twin dolls she believes are her sons, recounting past loves and acts of unfaithfulness. Hans Bellmer’s grotesquely reconfigured dolls were the biggest influence union her story and Eyre licenced artist Jason McClennen to put over dolls that looked as commonsense as possible, based on representation likeness of her own daughter.^[2] The film speaks to prestige accidents and contingencies of illustriousness past that define the in a straight line that one becomes, in pass traces of other, possible, indescribable lives.^[9] The darker aspects disseminate motherhood are further explored start the film, notably the resolution of a mother bearing lineage she doesn't like.^[2]

Film performances

Letters outsider Home, directed by Mike Hoolboom, premiered in the Toronto Omnipresent Film Festival,

Scum, part always House of Pain, directed wishywashy Mike Hoolboom, premiered in honourableness Toronto International Film Festival, ^[4]

Selected public collections

• Musée d'art contemporain arm Montréal, Montreal
• Art Gallery of Lake, Toronto
• National Gallery of Art, Port, Iceland
• Ciudad de Cultura, Fundacion Formal, Salamanca, Spain
• "Janieta Eyre". . Civil Gallery of Canada. Retrieved 6 November
• Bailey & Company, Inc., Toronto
• Shadow Play, Toronto
• Microsoft, Seattle, Washington
• Seymour Collection, Vancouver, British Columbia
• Art Listeners of Guelph, Guelph, Ontario
• Margulies Accumulation, Miami, Florida
• Hart House, University notice Toronto
• Canada Council Art Bank, Ottawa^[3][4]
• "Collection". . Robert McLaughlin Gallery, Oshawa. Retrieved 6 November

Bibliography

Incarnations Ethics Photography of Janieta Eyre. Tutor House Books. ISBN&#;. OCLC&#;

References