Yelin Park- Style Assignment

Yvonne De Rosa was born in Naples. According to her web page, after she graduate in political science, her deep passion for photography made her went to study in London at Central Saint Martin’s and graduated with an MA in photojournalism at the London College of Communication. In her book ‘Crazy God,’ she tried to depict the architectural of the mind through the near empty shell of a closed down hospital for the treatment of the mentally ill. She tried to illustrate freedom from the lights that are shinning from the side. Most of the photos from the book are either architectural shots, or close up shots. All the architectural shots were shot from very low as it is very close from the floor, angling up. In addition, those shots were mostly angled from sides so the lights could visually get into the photo from side. In her close up shots, it is easy to tell that most of the objects were on the ground, centered. De Rosa playwrights, whose photographs weave the story utilizing the objects left on floors in cupboards, cabinets, leaning against walls scratched with names and messages paintings a sorrowful series of scenes. Throughout the book I could see that she was keen to photograph letters and family photographs, which prevaricates the connection of patients’ links to the outside world. De Rosa captures the atmosphere of loneliness echoing through the rooms that are imbued with the emotions of those it once housed.

Gus Powell was born in New York City in 1974. In his book ‘The Lonely Ones,’ he tried to depict objects that he thinks are lonely with a sentence for each pictures. Powell’s The Lonely Ones made me consider this; his work feels like intercept a series of mysteriously preset of share. As a replacement for of illustrations, Powell pairs his photographs with “captions” that more look like confessions to the self or strict fortune yielded by a cookie of cosmic origin. They are messages and warnings. Powell’s photographs are yearningly voyeuristic, as in, I want to see and understand what’s happening here. I look at his pictures and think welcoming aliens are spying on us and this is how, to the best of their deep-space abilities, they make sense of what they see. I sense a heartbreaking desire to connect with, and maybe warn against, a situation gone slightly or wildly wrong. But the wants to unambiguously communicate seems doomed to productively fail; that failure is communicated by the vast amount of white space in which Powell’s words, like Stein’s characters, float. But in this white space is where the true relation happens; this is where the viewer fills in the literal distance between the words and the image. We connect with both the visible and the implied people in these photographs by investing in them our imaginative energies. Obscurity or irritation of the sort Gibbs carefully caution against—here yields to motivation, also a form of friendship. We make friends with the lonely ones.

Hellen van Meene was born in Alkmaar, the Netherlands, 1972, studied photography at the Gerrit Rietveld Academie, Amsterdam. In her book ‘The Years Shall Run Like Rabbits,’ Hellen van Meene showed visually striking and psychologically captivating photographs. Throughout the book, most of the objects are half naked young girls, reflecting on the awkward beauty of childhood and the self-consciousness of the adolescence. She started to take these photos from mid 1990s. To me her photo seems refined, and sharpened and unmistakable personal aesthetic. Most of the objects in her photos are either centered or on the side. The photo was taken from lower angle. One of the most interesting point about the photos are that backgrounds or the photos are very simple dark colored with very bright window lights, and model’s skin colors are all very pail. Also, I could determine that all the models do not have facial expressions, which made them look like they are in their own blue period. All the background from the photo seems like they are abandoned place, or not have been taken care of. Van Meene captures the intimacy in the photographer/subject relationship, bringing out a sense of honesty and weakness from within her models and highlighting the beauty of imperfection. She carefully poses her subjects in their environments to emphasize their fragility, adding a palpable tension to the photographs. At the same time, she captures them at deeper, more introspective moments—masterfully moving between the staged nature of the portraits and the real experiences of her subjects. The combination of van Meene’s instinctive understanding of the universality of adolescent experience and the highly intimate collaboration between photographer and model makes for powerful portraits that resonate long after viewing.