& # 8217 ; s Journey Into Myself Essay, Research Paper
JERRY UELSMANN? S JOURNEY INTO MYSELF
by Alex
The exposure is a photomontage of a female? s caput merely lower than centre, a larger negative print of a face at the top, and two custodies joined together at the underside of the exposure. The female? s caput seems to be a immature female gazing out in infinite with an look of person who may be reflecting on something or reverie. The larger face is in the background that appears to be lying down with the eyes closed. In the foreground are two custodies keeping each other at the fingers.
I get a few feelings from this exposure, but they are all related by? relationships? . The ground I interpret something about relationships is because the usage and how he uses the custodies. The manner the custodies are keeping each other appears to be in a caring manner. I besides get something of past and present from the manner Uelsmann layers each component in the exposure. The first is that of a immature female reverie of a future love. She is non certain of what this individual may look like and that is why the face in the background is ill-defined, and the manner the custodies are tenderly keeping each other reflects an emotional minute as that of one that may happen during a matrimony proposal. Another feeling I get is one of lost loves. She remembers the relationship and the times they had, but the face has become ill-defined over the old ages. One more reading I get is one of a immature adult females? relationship with her male parent. This exposure may demo Jerry Uelsmann? s self-refection at the clip.
Looking through Jerry Uelsmann? s work and comparing Journey Into Myself ( 1967 ) with other plants of his, I find two other exposures that deal with the review or rating of one? s ego. The exposure I refer to are Small Wood Where I Met Myself ( 1967 ) and Room # 1 ( 1963 ) . Journey Into Myself and Small Woods Where I Met Myself were made around the same clip period and may reflect Jerry Uelsmann? s emotional province or his ain ego contemplation. Room # 1, I felt followed on the same head frame of self-evaluation. These exposures have alike with all of Jerry Uelsmann? s work in that they are all photomontages. Photomontages are superimposition of one image on another. Uelsmann accomplished this by making dual or multiple exposure. This is done while the negative is still in the camera. Uelsmann besides made them by exposing the publishing paper to portion or several negatives in sequence called multiple printing. He besides used combination printing, or sandwiching the negatives. This is the printing of
two or more overlying negatives at the same clip. Photomontage reminds me or makes me believe of looking into or taking a exposure of a window. You can see through portion of the window and the contemplations of objects are being reflected on the remainder. They seem to be distorted or uniting together. I have heard him being called the maestro of photomontage. He has had over 100 solo exhibitions of his work through out the old ages. I enjoy his work and see him a hereafter influence in my ain picture taking.
I am really interested in Jerry Uelsmann? s work of all time since I saw some of his work and can merely trust to be able to draw it off every bit good has he is. Because I have been influenced by his work, I have started on these types of exposure. Jerry has besides had some influences in his work like Joyce, in that he allow his topics order his methods alternatively of enforcing his method on his topics. Other influences include Minor White and Stieglitz. Minor White made Uelsmann recognize the poetic world when Uelsmann a pupil was at Rochester Institute of Technology. In His work, adult male is the ruling character and participant in Uelsmann? s work. Jerry Uelsmann is a humanist and he is concerned with adult male? s accomplishments, involvements, actions, and moral deductions of these actions. Many of his exposure express the gender of human interactions and has mastered the presentation of titillating tenseness without traversing the line into erotica or fall backing to non-objective symbolism. Uelsmann has gone though alterations in his life and his work reflected to some grade that alteration. In his recent work, his exposure have become less diagrammatically ruling, in that they may be seen as the comparatively simple and harmonious counterpoint of objects and signifiers. The image infinites, in his recent work, have been filled in a more entire and emphasizing manner reflecting his complex nature. Uelsmann puts his exposure together by seeking for a important image. He does this by first choosing a motive, so forming the signifiers, and so unite each in a image in which the content is other than merely pure informations. It is a sort of magic-theatrical charming procedure and the kernel is the least bit irrational.
Jerry Uelsmann? s exposure, I believe, catch your oculus and makes you halt to take another expression. This may because you were interested in what you saw or merely because you wanted to take a closer expression at what you thought you saw but your encephalon couldn? T explain it, or possibly you thought? belly laugh? . For whatever ground, Uelsmann? s photomontages become unfastened to many readings, as with Journey Into Myself.
