Below are some examples of work by artist off my Behance account who I'm following who's work I find inspirational. I like the idea of portraiture but not as you would think of it. Portraiture doesn't have to be just head and shoulder shots, it can be parts of the body as these are still part of you.
Abstract Body
During 1985 I had a short-lived interest in self-portraiture. In December 2000, again in South Africa for a vacation in Cape Town, this interest was revived, now lastingly and as the central theme in my photography. Until mid-2003 the selected body area was typically photographed in interaction with objects or landscapes. Thereafter I returned to the neutral backgrounds of 1985, and came closer to the more intimate spirit of that period. In general I sought to make a body part function as an autonomous subject and explore, in a more or less abstract way, its sculptural potential or its texture, to depict it as an object stripped of its human identity.
Miguel Ribeiro
http://www.miguelribeirophoto.com/abstract-body.html
Cubism Portraits
Pablo Picasso
Pablo Picasso started off with cubic paints and distorting the portraits. This inspired photographers and influenced their work up till today. He transforms a standard portrait and gives the images a new dimensions back in the 1900's to be so creative and show something different was a big gamble, but his risk paid off and is still in modern photography.
David Hockney
“Joiners” owed much to Cubism—an association Hockney found to be a “turn-on.” It was the beginning of a new phase in his career, one which helped develop Hockney’s artistic vision. http://dangerousminds.net/comments/david_hockneys_cubist_photography
David Hockney produces these images by taking multiple images of the subject and joining them together hence why he came up with the name joiners. This a different way again to produce a portrait from the normal sense.
Gagosian Gallery is pleased to announce the opening of the photographic series Closed Contact, 1995-96. This collaboration between painter Jenny Saville and fashion photographer/filmmaker Glen Luchford confronts and challenges conceived notions of feminine beauty. The collusion of the art and fashion worlds has produced many hybrids in recent years, yet none perhaps as intensely striking as this series. In this body of work, the artists have created a new form of self-portraiture, using Saville as the model.
After having observed the operations of reconstructive and aesthetic surgery, Saville was eager to express the violence and anesthetized pain of this experience in her own work. Luchford and Saville began an artistic collaboration that captures the full range of color, tonality and topography of live flesh, in large photographic tableaux. Distortions confront and coerce the viewer into an examination of one's own body and the grotesqueries and beauties inherent within. The images also recall biological specimens preserved, disembodied and disfigured.
"The images offer, not a story, but an experience that begins in visceral uneasiness and gradually shifts to a haunted serenity. The discomfort is complicated. It is triggered partly by our sense of the instantaneous monstrosity of a normal human transformed by the spreading of the shape beyond what we understood as normal…"
https://www.gagosian.com/exhibitions/january-12-2002--jenny-saville--glen-luchford
David Hockney produces these images by taking multiple images of the subject and joining them together hence why he came up with the name joiners. This a different way again to produce a portrait from the normal sense.
Gagosian Gallery is pleased to announce the opening of the photographic series Closed Contact, 1995-96. This collaboration between painter Jenny Saville and fashion photographer/filmmaker Glen Luchford confronts and challenges conceived notions of feminine beauty. The collusion of the art and fashion worlds has produced many hybrids in recent years, yet none perhaps as intensely striking as this series. In this body of work, the artists have created a new form of self-portraiture, using Saville as the model.
After having observed the operations of reconstructive and aesthetic surgery, Saville was eager to express the violence and anesthetized pain of this experience in her own work. Luchford and Saville began an artistic collaboration that captures the full range of color, tonality and topography of live flesh, in large photographic tableaux. Distortions confront and coerce the viewer into an examination of one's own body and the grotesqueries and beauties inherent within. The images also recall biological specimens preserved, disembodied and disfigured.
"The images offer, not a story, but an experience that begins in visceral uneasiness and gradually shifts to a haunted serenity. The discomfort is complicated. It is triggered partly by our sense of the instantaneous monstrosity of a normal human transformed by the spreading of the shape beyond what we understood as normal…"
https://www.gagosian.com/exhibitions/january-12-2002--jenny-saville--glen-luchford
- Portraits using mirrors
- smashed glass
- Face/body parts pressed against glass
- smashed mirrors
- obscure the lens
- Reflective objects to capture the portrait on
- Portraits with water obscuring the face
- Adult holding a mirror while the reflection of a child is in the mirror.
- Young hands holding a piece of smashed mirror reflecting an old face
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