Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits
This article aims at furthering our understanding of costuming in self-portraiture through the analysis of Janieta Eyre’s photographic works. Exploring the fictionalizing potentialities of photography and flouting the conventions of self-portraiture, the Canadian artist stages her multiple doubles i...
Αποθηκεύτηκε σε:
| Τόπος έκδοσης: | URI:https://journals.openedition.org/erea, |
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| Κύριος συγγραφέας: | |
| Μορφή: | Article ou chapitre numérique |
| Γλώσσα: | Anglais |
| Έκδοση: |
E-rea
2019
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| Θέματα: | |
| Διαθέσιμο Online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Περίληψη: | This article aims at furthering our understanding of costuming in self-portraiture through the analysis of Janieta Eyre’s photographic works. Exploring the fictionalizing potentialities of photography and flouting the conventions of self-portraiture, the Canadian artist stages her multiple doubles in a playful yet introspective way. The studio becomes an experimental huis-clos harbouring fantasy self-explorations. The costumes that she assembles allow for complex dramatizations of the othered self. In these performative self-fictions the costume constitutes a prosthetic device. Her burlesque impersonations address gender identity in a subversive way. Judith Butler’s view of gender as stylized repetition of acts chimes in with Eyre’s use of seriality and endless mises-en-abyme, while Paul Gee’s definition of projective identity as a liminal form of identity—an interface between the real and the virtual self—and other researchers’ exploration of the avatar in game theory shed additional light on Eyre’s use of costuming. |
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