View allAll Photos Tagged self-reflection
January 19 019/366
I like how there are three sets of reflections going on here. And how my face is mostly obscured, because that's pretty much what I try for when taking pictures of myself. Yes, I like to defeat the purpose.
Actually taken from the balcony of the entrance lobby of a friend in the building adjacent to the Ansonia on 73rd Street.
“The beginning of love is to let those we love be perfectly themselves, and not to twist them to fit our own image. Otherwise we love only the reflection of ourselves we find in them.”~ Thomas Merton
U.S. Air Force Tech. Sgt. Cohen A. Young, a photojournalist, takes a self portrait through the sunglasses of U.S. Army Staff Sgt. Michael Horst as he conducts an assessment of a recreation center in the Mahulla 515 area in the Thawra 1 neighborhood of the Sadr City district of Baghdad, Iraq, June 6, 2008. U.S. Air Force photo by Tech. Sgt. Cohen A. Young.
Harness for Self-Reflection
Combining sculpture, image and text, "Harness for Self-Reflection" (2021) considers the tenuous relationship between chronic illness, agency and activism. Object and image compose a self-referential installation and looping phenomena that choreographs movement within the surrounding space. Documenting a private performance ritual of self-examination, eight silken image-texts hang in a pinwheel formation around a central copper cylinder. A wearable viewing apparatus or harness, hangs limp with nonuse at the structure’s center.
Cotton cord becomes the common thread between illness and culture, sexuality and healing, social bondage and autonomous political agency. Interweaving the ‘domestic’ craft of macramé with erotic shibari techniques, the harness binds the body to a large mirror suspended between the artist’s legs during performance–self-bondage diagnoses, reclamation of agency, auto-interview introspection. Performance images are overlaid with portions of a poetic text written in the artist’s hand. Here, temporal linearity collapses as terrains of embodied knowledge are traversed through metaphor, idiom, diary remembrance and real-time narration of a medical examination. Latent illness, elusive agency, fugitive knowledge; raw edged silken prints are volatile and highly sensitive to voyeuristic presences where even slight movements cause the material to flow and obfuscate.
Punctured momentarily when performer and viewer catch each other’s gaze through the viewing apparatus, the installation forms a feedback loop of looking that simultaneously threatens disaster and promises relief. A cyclical structure, cotton loops, and cursive script; "Harness for Self-Reflection" ensnares, a lens through which to consider the trap of visibility.
Harness for Self-Reflection
Combining sculpture, image and text, "Harness for Self-Reflection" (2021) considers the tenuous relationship between chronic illness, agency and activism. Object and image compose a self-referential installation and looping phenomena that choreographs movement within the surrounding space. Documenting a private performance ritual of self-examination, eight silken image-texts hang in a pinwheel formation around a central copper cylinder. A wearable viewing apparatus or harness, hangs limp with nonuse at the structure’s center.
Cotton cord becomes the common thread between illness and culture, sexuality and healing, social bondage and autonomous political agency. Interweaving the ‘domestic’ craft of macramé with erotic shibari techniques, the harness binds the body to a large mirror suspended between the artist’s legs during performance–self-bondage diagnoses, reclamation of agency, auto-interview introspection. Performance images are overlaid with portions of a poetic text written in the artist’s hand. Here, temporal linearity collapses as terrains of embodied knowledge are traversed through metaphor, idiom, diary remembrance and real-time narration of a medical examination. Latent illness, elusive agency, fugitive knowledge; raw edged silken prints are volatile and highly sensitive to voyeuristic presences where even slight movements cause the material to flow and obfuscate.
Punctured momentarily when performer and viewer catch each other’s gaze through the viewing apparatus, the installation forms a feedback loop of looking that simultaneously threatens disaster and promises relief. A cyclical structure, cotton loops, and cursive script; "Harness for Self-Reflection" ensnares, a lens through which to consider the trap of visibility.
I really like this accidental shot.
We've been painting our house for the past 6 weeks (yikes) and I've had few opportunities to fondle my camera the way I'd like to. This afternoon I grabbed an armful of stuff — Vanity Fair — under my arm, was getting ready to rush our the door, and as I checked to see my battery levels this shot snapped from our front hall.
I love that there's multiple layers of reflection here; I'm shooting into a mirror that's reflecting of a picture that's re-reflecting off another picture. Whew! And of course, my grandfather's old, well, grandfather's clock which is a classic beauty though it hasn't ticked in 30 years. The darkened picture on the right is an original watercolor of the house.
Harness for Self-Reflection
Combining sculpture, image and text, "Harness for Self-Reflection" (2021) considers the tenuous relationship between chronic illness, agency and activism. Object and image compose a self-referential installation and looping phenomena that choreographs movement within the surrounding space. Documenting a private performance ritual of self-examination, eight silken image-texts hang in a pinwheel formation around a central copper cylinder. A wearable viewing apparatus or harness, hangs limp with nonuse at the structure’s center.
Cotton cord becomes the common thread between illness and culture, sexuality and healing, social bondage and autonomous political agency. Interweaving the ‘domestic’ craft of macramé with erotic shibari techniques, the harness binds the body to a large mirror suspended between the artist’s legs during performance–self-bondage diagnoses, reclamation of agency, auto-interview introspection. Performance images are overlaid with portions of a poetic text written in the artist’s hand. Here, temporal linearity collapses as terrains of embodied knowledge are traversed through metaphor, idiom, diary remembrance and real-time narration of a medical examination. Latent illness, elusive agency, fugitive knowledge; raw edged silken prints are volatile and highly sensitive to voyeuristic presences where even slight movements cause the material to flow and obfuscate.
Punctured momentarily when performer and viewer catch each other’s gaze through the viewing apparatus, the installation forms a feedback loop of looking that simultaneously threatens disaster and promises relief. A cyclical structure, cotton loops, and cursive script; "Harness for Self-Reflection" ensnares, a lens through which to consider the trap of visibility.
100% crop from a detail photo of a shower handle. I had "thought" I had moved out of the reflection, and for the larger surfaces I had.
anyone who's known me forever knows that i LOVE eyes. i am so intrigued by them.
and i also love glitter. =]
reflections in the folding mirror, thats what the line is in the center
self portrait
Karissa Lynne
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