Rachelle Soucy’s Vanitas series uses non-traditional photographic methods, lush colours and intriguing symbolism. Emerging out of the darkened background are not only flowers, fruit and trinkets, but the artist herself. In a way, Rachelle’s work is a slick descendant of the “face-down-on-the-photocopier” self portraits most of us have enjoyed. But by using today’s scanner technology, she greatly magnifies hidden details such as wrinkles and pores on her skin and even miniscule insects which apparently were former tenants of the foliage.
While Rachelle credits Vancouver-based artist Evan Lee and British artist Helen Chadwick with the technical inspiration behind the work, even more interesting is her imagery which alludes to various artistic genres and literature. Rachelle captures the morbid symbolism of 16th and 17th Century vanitas still life paintings with wilting flowers, rotting grapes, and an hourglass. The artist herself projects lifelessness by keeping her eyes firmly shut. The vanitas theme reminds the viewer that pleasure is futile and death is inevitable. Despite their foreboding qualities, the images remain undeniably beautiful and hint at a sexual tension. Blushing flower petals rustle open, suggesting a naughty peek under a woman’s shirt, and the flushed skin, tousled hair and parted lips of the artist’s face could be simultaneously interpreted as either qualities of the vanitas theme or lusty indulgences.
I felt that the work’s technique and style could refer to Evergon’s exotic Ramboy series and the recent, collaged photographs of Gilbert and George. I was subsequently reminded of Ophelia, one of Shakespeare’s most tragic heroines, and her mad descent into a watery grave. Most importantly however are Rachelle’s allusions to Lewis Carroll’s Alice in Wonderland books. Tiny tea spoons, white roses, seashells, and the infamously tardy white rabbit all appear to be accompanying Alice as she tumbles endlessly down the rabbit hole.
Joseph Anderson
Here are the six works I had in the show - Vanitas series
My process is influenced by Vancouver-based artist Evan Lee. In Canadian Art magazine (winter 2006) there is an article on Evan Lee and his scanner pictures. He sets up still-lifes and uses his scanner as a means to photograph these still-lifes. The effects are somewhat reminiscent of 17th Century Dutch still-life paintings, with beautiful shadows. He uses dollar store trinkets, like tacky silk flowers and plastic bugs, making reference to symbols found in many 17th Century still-life paintings.
When I started working on my artwork for this show, I wanted to create self-portraits incorporating these symbols from 17th Century Dutch still-life paintings or 'vanitas' paintings. At first glance, 'vanitas' makes reference to vanity. I am capturing my youthfulness in the photograph, which could be seen as vain, there are other elements in play within the photograph. Typically 'vanitas' paintings are highly symbolic and are meant as a reminder of the transience of life, the futility of pleasure, and the certainty of death. And it is in these 'vanitas' symbols surrounding my face, like the decaying flowers, skulls, hourglass and seashells, which are meant to symbolize mortality and the passing of life. I am hoping that my photographs show both literally and symbolically like a snapshot in time.
My process of using my scanner as camera was first inspired by Evan Lee. He sets up still-lifes and uses his scanner as camera. I began by scanning objects and then my hands, hair and face. I gradually started experimenting with all the images I had scanned, by combining multiple scans to reveal a larger and more surreal image. By making multiple scans of the flowers, my face and hair, I was able to crop and fit images together to create larger and more dynamic self-portraits. Although the image does accurately capture in fine detail my wrinkles and badly bitten finger nails, I was also able to manipulate it in a way to emphasize other parts of myself, such as my hair. People commented on how long my hair was in some of the portraits, wanting to know if I had been wearing a wig, but it was really just a matter of piecing different scans together to make hyper-portraits of myself.
Rachelle Soucy
