The Unseen Self: Identity and Form in the Photography of Hidden Faces
There is no identity in the face; identity resides in the form. This is the main idea that links three fantastic photographs by Abiola Sanni. These three photos seek to
There is no identity in the face; identity resides in the form. This is the main idea that links three fantastic photographs by Abiola Sanni. These three photos seek to reveal ideas about identity and concealment.
First of all, "Vestige of Bloom" can be considered the most sculptural and complex photograph out of three pieces made by this author. Unlike classical portrait photography, this photograph turns into some kind of living sculpture thanks to the large white petals on the background. In such a way, the author manages to achieve an effect of transformation of the human body into something different and having nothing to do with humanity anymore. It means that it is an effective technique in showing the absence of interest in identity of a person and revealing the form.
Speaking about composition, one should say that this photograph looks quite impressive. Symmetry created by petals surrounding the central axis plays a significant role in creating an effect of monumentality. Furthermore, together with a posture of touching stomach, the artist manages to create a powerful image of motherhood.
A crucial point in terms of the analyzed photograph is lighting used in order to enhance the overall effect. Black and white contrasts help to create a sense of monumentality. Furthermore, different fabrics used in making a dress (for example, chiffon, fur, petals) make the photo even more impressive.
Shifting away from a similar concept, "The Memory of Flowers" becomes quite internal and psychological. Just like the previous photograph, this one also does not focus on identity of a woman in question, but pays more attention to a concept of the work of art which is concealment. However, in this particular case, it is quite correlated with the concept expressed in the title (i.e. flowers hiding a face of a woman).
Once again, compositional skills of the artist become evident. A dark background and dark colors of the dress in combination with white roses contribute to creating good visual contrasts allowing to clearly see posture and gestures of the subject. Furthermore, the choice of colors works quite well since red roses are always associated with passion, sorrow and reminiscence.
However, another interesting thing that the author did was using a technique of hiding face completely. Thus, it is a good opportunity to express personal feelings associated with red roses. Consequently, this makes the picture open for self-identification of the viewer.
The third photograph – "Bounded in Patterns not Chosen" – becomes the most complex one among three images discussed in this essay. First of all, it is because of the chosen material for making a dress and a mask (adire). Secondly, it is due to the political dimension introduced by choosing the mask standing for oppression and adire which symbolizes someone's reluctance to abandon traditional views. Thirdly, it emphasizes the contradiction between free speech and freedom of expression.
The picture itself looks quite balanced thanks to the choice of pose of a woman (she is sitting) and upward gaze. As a result, a person looks noble and dignified in spite of oppression that he or she experiences. In such a way, a mask, instead of taking away identity of the person, enhances his or her dignity and nobleness.
Black-and-white color scheme proves to be highly effective since the only source of light helps the viewer to concentrate on patterns of adire and a play of lights and shadows creating a rhythm. On the one hand, it conveys a sense of oppression and restrictions, while, on the other hand, hints at a sense of hope and freedom.
Thus, one can say that the concept of this photograph looks quite evident and obvious. Nevertheless, this work of art seems to be interesting and attractive to view. Though the message of this photograph becomes clear immediately and leaves no space for interpretation, the image remains convincing and powerful.
Summarizing the above discussion, one should note that there are several similarities among the pictures examined in this paper. First of all, they all have common elements (i.e. hidden faces of the subjects). Secondly, all these photographs can be characterized as visually impressive. Lastly, one may speak about stylistic coherence of the pictures.
