The Belfast-born artist’s female portraits depict private moments away from the male gaze
Hannah Starkey joins Whitechapel Gallery's talk series Prix Pictet Conversations on Photography celebrating contemporary photography. 21 Feb 19.
Desde meados dos anos noventa que a fotógrafa Hannah Starkey vem dedicando seu trabalho a capturar imagens de mulheres. Além disso, ela gosta de explorar a forma com a qual a fotografia acaba gerando…
For more than 20 years, Belfast-born Hannah Starkey’s artfully constructed portraits have captured everyday female experience
Visita la entrada para saber más.
Depuis le milieu des années 1990, la photographe Nord-Irlandaise Hannah Starkey a consacré son travail sur les femmes. Les photographies couleur
For more than 20 years, Belfast-born Hannah Starkey’s artfully constructed portraits have captured everyday female experience
Tous les mardis, focus sur un livre photo. Cette semaine, le superbe «Photographs 1997-2017» de la photographe britannique, qui pose un regard aussi combatif que sophistiqué sur la représentation du féminin dans notre culture visuelle.
Using actors within carefully considered settings, Hannah Starkey’s photographs reconstruct scenes from everyday life with the concentrated stylization of film. Starkey’s images picture women engaged in regular routines such as loitering in the street, sitting in cafes, or passively shopping. Starkey captures these generic ‘in between’ moments of daily life with a sense of relational detachment. Her still images operate as discomforting ‘pauses’; where the banality of existence is freeze-framed in crisis point, creating reflective instances of inner contemplation, isolation, and conflicting emotion. Through the staging of her scenes, Starkey’s images evoke suggestive narratives through their appropriation of cultural templates: issues of class, race, gender, and identity are implied through the physical appearance of her models or places. Adopting the devices of filmography, Starkey’s images are intensified with a pervasive voyeuristic intrusion, framing moments of intimacy for unapologetic consumption. Starkey often uses composition to heighten this sense of personal and emotional disconnection, with arrangements of lone figures separated from a group, or segregated with metaphoric physical divides such as tables or mirrors. Often titling her work as Untitled, followed by a generalized date of creation, her photographs parallel the interconnected vagueness of memory, recalling suggestions of events and emotions without fixed location or context. Her work presents a platform where fiction and reality are blurred, illustrating the gap between personal fragility and social construction, and merging the experiences of strangers with our own. [Saatchi Gallery]
I have brought a number of Italian magazines with me to Maputo. I think it's always good to have something to read in Italian considered that all day long I have to speak English (and sometimes a very poor Portoguese). One of these magazines had dedicated an article to an Irish photographer whose name is Hannah Starkey. Hannah was born in Belfast in 1971 and is a very talented photgrapher. In her pictures she represents issues of class, race, gender, and identity. Her images convey a sense of personal and emotional disconnection. She mainly portrays women as you can see below. Her pictures are exhibited at Saatchi Gallery in London. Check this link out http://www.saatchi-gallery.co.uk/artists/hannah_starkey.htm
Cinematic, richly saturated images reveal UK-based Hannah Starkey’s deeply personal vision. She chooses seemingly simple scenes—often of a single woman, alone, in a public place, preoccupied with an ordinary task. But she situates the subject in an environment of glass, windows or mirrors that partially obscure the subject while the reflections add dimension and mood to the portrait.
For more than 20 years, Belfast-born Hannah Starkey’s artfully constructed portraits have captured everyday female experience
For more than 20 years, Belfast-born Hannah Starkey’s artfully constructed portraits have captured everyday female experience
For more than 20 years, Belfast-born Hannah Starkey’s artfully constructed portraits have captured everyday female experience
For more than 20 years, Belfast-born Hannah Starkey’s artfully constructed portraits have captured everyday female experience
Hannah Starkey's work is unified by a considered, unfaltering look at the nature of female life. This week Starkey returned to Maureen Paley for a solo show
Using actors within carefully considered settings, Hannah Starkey’s photographs reconstruct scenes from everyday life with the concentrated stylization of film. Starkey’s images picture women engaged in regular routines such as loitering in the street, sitting in cafes, or passively shopping. Starkey captures these generic ‘in between’ moments of daily life with a sense of relational detachment. Her still images operate as discomforting ‘pauses’; where the banality of existence is freeze-framed in crisis point, creating reflective instances of inner contemplation, isolation, and conflicting emotion. Through the staging of her scenes, Starkey’s images evoke suggestive narratives through their appropriation of cultural templates: issues of class, race, gender, and identity are implied through the physical appearance of her models or places. Adopting the devices of filmography, Starkey’s images are intensified with a pervasive voyeuristic intrusion, framing moments of intimacy for unapologetic consumption. Starkey often uses composition to heighten this sense of personal and emotional disconnection, with arrangements of lone figures separated from a group, or segregated with metaphoric physical divides such as tables or mirrors. Often titling her work as Untitled, followed by a generalized date of creation, her photographs parallel the interconnected vagueness of memory, recalling suggestions of events and emotions without fixed location or context. Her work presents a platform where fiction and reality are blurred, illustrating the gap between personal fragility and social construction, and merging the experiences of strangers with our own. [Saatchi Gallery]
Hannah Starkey, Untitled, (2010) Is film really a medium of the present while photography is always oriented to the past? Is film, now that you can buy it and do as you wish with it, any less of an…
Review by Angela Darby Without a doubt, Hannah Starkey, is a prolific and accomplished artist. Her solo exhibition at the Ormeau Baths Gal...
