DOI: 10.24308/iass-2014-034

Faculdade Cásper Líbero, São Paulo, Brazil

fla.mantovani27@gmail.com

Faculdade Cásper Líbero, São Paulo, Brazil

prof.arcf@uol.com.br

Abstract

Francesca Woodman is a milestone in the history of photography. At just 17 years old she started a large project:to photograph her own life, from birth to death; creating symbolic images of the time to represent her reality. This artwork is constituted by several symbolic elements, making use of her body and other objects to compose the scenarios. Therefore, this paper aims to analyze Francesca Woodman’s life and artwork interpreting her photographs through representative forms (Imitative Representation, Figured Representation and Ideational Representation). This study will be based on the work about matrices of language and though written by Lucia Santaella (2001) that presents a critic and detailed analysis about the explored topic.

1. Introduction

Undoubtedly, Francesca Woodman is a milestone in the history of photography.Using simple techniques and sceneries, she was able to tell great stories with only a snap in her camera.

At only 17 years old, the photographer started a great work:to tell how her life was. Since her birth until her death. Full of meaning, her photos could transport those who see them to Francesca's world, immerse in strong melancholy.

In this paper, we will analyze some photographs taken by Francesca, in order to identify different significant ways found in her work.So that, we will explore representation levels by visual matrix analogy which are worked in the work Matrizes de Linguagem e Pensamento, by Lucia Santaella:Imitative Representation, Figured Representation and Ideational Representation.

Imitative Representation makes conventionality imperceptible, like music sheets – where musical note symbols represent the note itself for those who can read it. Figured Representation is identified when representation conventions are through denotative figures, such as, pictograms – figures represent visible objects or actions. Finally, Ideational Representation represents abstracts ideas or concepts, through idea diagram indications.

Additionally, this research focuses on analyzing cultural conventions of the time Francesca Woodman lived – lifestyle of the society, how women were seen, the influence of arts in that society, if there was some work similar to that girl’s, which elements made her daily life – in order to understand the meaning of all elements found in her photographs and understand existing connection between sign and object mentioned.

The objective shall be exploring the meanings found behind symbols forming her photos (since solid objects until the body of models).

Interpreting a “simple” photo can show us that it is not so simple. Behind its propositional function, there can be a big narrative structure, with a big symbolic dimension.

In 2010, C. Scott Willis made a documentary about Woodman family until the death of Francesca.

I think that my major surprise was to be able to read her diaries and notebooks and see her works on video.I found that her work is much more fundamental than it seems to be and that there is much to do with the celebration of live and not much with the lack, as it is shown. As her brother says on the documentary, I think the art was a religion to her and to her family. And who knows if the problem had its origin here” (WILLIS, 2010).

A great part has not been properly explored. Thus, through this article, we focus on obtaining more explanation about her work to better understand one of the most admired photographers in the present.

2. Cultural Conventions at That Time

The 60’s was not only marked by excitement and political conflicts, but also by the great artistic development. It was the time for changes.

The emergence of counterculture influenced by social movements was a great milestone for the youth at that time. Based on criticisms to the authorities’ values and middle class’ lifestyle, many people adopted alternate styles and ideas. Hippies created one of the most famous styles – simple clothes, long hair, drugs, free life, sex and music.

Young people started to live in a more simple and informal way. Liberal attitudes concerning drugs and sexuality were a huge revolution for that time.

This big cultural change was assimilated by all arts. For example, in popular music, protests against political matter at that time were very common. A big struggle for civil rights of population, through songs full of hidden meanings that confused and faced the government.

Francesca Woodman was born among all these facts and excitement. A young lady who was never interested in politics and had a particular lifestyle and a different way to see the world.

It is not possible to say that these disturbances happened in the United States influenced her work. However, we cannot deny that Francesca also made history, as well as other young people of that time.

3. Francesca Woodman – Life & Work

Francesca Woodman was born in 1958 in the United States. Her father was a painter, her mother was ceramist and her brother was a moviemaker that was she grew up in the middle of the arts. At 13, her parents gave her a camera, but they did not know it would change her life and the way she looked at the world from then on.

Francesca started to photograph the world around her in black and white. She started to find alone the camera tools, as well as lighting to be used in her photos. She soon noticed that photograph was her great passion.

At 17, Francesca went to Rhode Island School of Design, where she started her big project:Photographing her life. But unlike many other photographers, this girl showed a unique style in her work. Exploring elements, such as Naturalism of female shapes (using nudity), Surrealism, phantasmagoric touches, Symbolism, Barocco and Futurism were constant part in her work.

In order to create her sceneries, the girl used elements of nature, such as leaves, flowers and branches, as well as local buildings of where she lived (houses and walls). From these elements, Francesca photographed scenes that were reference to her own existence. Even using some colleagues as models, the history created in photographs was based on her own.

Always with a melancholy and sadness touch, she used a lot of hide-and-seek – she hides the body behind wallpapers, plastic bags, piece of glass and on the floor – to show the big contrast between her fragile body and hardness of solid objects. Such elements helped to form a complex set of symbolic density, her work.

Her photos can transport those who see to Francesca's world. Since her birth, her teenager findings of sexuality, difficult passage to adult life until her premature death.

Francesca creates a parallel universe for herself. She lived her job and her job lived her strongly intense, so that her destiny was established. At 22 years old, her photos showed phantasmagoric elements, symbolizing the passage of her life to the moment of her death. As her work used to reflect her reality, her life also came to an end.

Few days before her father takes part of a big exhibition of his work, Francesca finished her work and her life, when she threw herself from the window in 1981. Her face was disfigured, like the faces in her last photos.

The young photographer only became famous after her death, when her work was exhibited at Wellesley College. Today, Francesca is one of the most distinguished photographers in the world, due to her originality and intensity.

4. Languade and Thinking Matrix

According to Lúcia Santaella, Language and Thinking Matrix explain the origin of existing languages. These are formed from three main matrixes, based on human perception. They are:Sound, visual and verbal matrix.

Representative or symbolic forms,

are those that reproduce the appearance of visible things, and this appearance is used only as a mean to represent something that is not visibly accessible and, as a general rule, has an abstract and general character" (Santaella, 2001, page 246).

“Representamen” plays its role with no need of similarity and analogy to the subject mentioned.Normally, this relation happens through an association of ideas – so that symbol can be interpreted, such as referring to that object. Thus, it becomes a legi-signo, working through a replica.

4.1. Classification of symbols

The meaning of symbols can only be interpreted through cultural convention codes And, then, it is required to recognize these cultural codes to identify the symbols for its figurative representation. An example to be mentioned is the cross that is a Christian symbol.

Representative visual forms show something of the visible world (thirdness) and, from here, branches are created for secondness (denotative and referential) and firstness (iconic, mimetic).However, Santaella (2001) says that it is only possible because there is certain similarity between this form and that she means.

Representative forms work as symbols and refer to the object that mean due to a rule or habit or convention working to make these forms to be interpreted, such as referring to that object (Santaella, 2001, p.248).

Interpreting an image can show very complex meanings. They can tell us great histories from their symbolic elements. And they can be deciphered from specific representation forms: Analogy, imitative, figured and Ideational.

5. Representation Forms

5.1. Representation by analogy

Representation by analogy is the first modality of representative forms. It happens through conventional symbolic forms that maintain similarity relations to what they represent. In turn, these forms are structured according to general laws and cultural conventions.

Thus, cultural conventions are necessary for understanding. But their symbols present similarity between sign and object mentioned. For example, the representation of a king, when placed in the middle of the figure and bigger than his vassals, shows his power and his central social position. There is a cultural convention to understand, such as size and position (similarity between sign and object).

In this representation by analogy, there are three other types of representation that will be analyzed as follow:

5.1.2. Imitative Representation

This representation is done through mimetic prominence. Visual form is also connected to the object through a system of conventions.But as imitative aspect is strongly present, conventionality is almost imperceptible.

A good example is the music sheets that imitate the direction, the movement, velocity, and form of sound configurations.

5.1.3. Figured Representation

In this case, conventions of representation happen through denotative figures. They can be considered a type of writing, connection between symbol and objet as figured.

Pictographs are an example of figured representation, because they are figures representing visible objects or actions that are also part of a system of cultural conventions.

5.1.4. Ideational Representation

Ideational representations represent abstract concepts or ideas.They are formed by more schematic figures (idea diagram indications).For example, Chinese writing, where expression “too hot” is “very hot” is represented by the union of two ideograms of “fire”.

6. Representations Found in Photographs of Francesca Woodman

Analyzing the work left by Francesca Woodman reveals the existence of all representative forms. However, in each photo, some of these representation levels are more outstanding than others.

Examples that will be presented below show an emphasis in some types of representation, even such photographs have all of them.

Image 1

Francesca used many things of hide-and-seek game in her photos.In the case presented above, she hides her body behind the wallpaper creating the environment. The contrast between her body and the paper reveals the fragility she used to establish to herself. The superposition of solid materials on her body creates this effect.

Thus, a representative form is created. That is, additionally to reproduce visible things (the female body and wallpaper); the photograph also represents something abstract.

Here we can see a case of Ideational Representation, where an abstract concept or idea is represented through superposition of simple elements.

The wallpaper now has new functions:Armor and camouflage. Francesca wishes to show a shady atmosphere about her reality in most of her photos. Thus we can conclude that her work becomes an escape of the real world. This escape seems to be so delightful that mix and merge with reality, making impossible to differ one and another. Her work became her own life.

Image 2

Picture taken in the beginning of her project, focusing on portray her life.In this case, the moment of her birth.

The position Francesca takes can be assimilated to the same position of a baby when leaving maternal womb. At the same time, it can also represent the form of her mother’s womb.

Also, similarity between the photo and the position of Jesus Christ crucified shall be analyzed. This would give purity to the baby that had just been born, with no contact with earthly “sins”.

In this photo presented, we can find two types of representation:Imitative Representation and Ideational Representation.

When analyzing how Francesca imitated the position of a baby, womb and Jesus, the Imitative Representation is identified. She also used positions to remind an idea already found in people’s mind, through existing cultural conventions.

Ideational Representation is found through an abstract idea (birth).

Joining these two representation forms enrich the analysis of this photograph.Francesca shows that, when she was born, her life was intended to be full of melancholy, such as symbols presented in the image.

Image 3

In the end of her work and also her life, Francesca’s photos had a phantasmagoric atmosphere.Faces were not evident anymore, like in the beginning of her work.

This “stain” touch in the face portrayed before represents the time passage and her untying with life. She was preparing herself to the end.

Interpreting this picture leads to identify Ideational Representation. Through the movement game and also the lack of illumination, the moment of arrival of her death is represented. An abstract concept (death, agony) through the composition of simple symbols and gestures.

The idea of death is reported using the figure created with fast movements of her head. So there is no more focus, reflecting the agony Francesca had been facing. She knew her work was coming to an end, as well her life.

Image 4

When discovering her sexuality, Francesca used mirror games under her body, in order to represent her curiosity and findings about her own body. Face is also blurry, that would represent her confusion when facing the subject.

Thus we found an example of Figured Representation, when assimilate the mirror to her intimate body parts and also the action to touch and find her.

There is also an Ideational Representation, as sexuality is an abstract term that can be represented through a game of objects and position of the model.

This is one of the cases where more than one representation form is made evident and complementary very clearly. This set can communicate the message that Francesca used to create her scenery. They are not required words, only a set of elements positioned and mounted so that meanings are clearer to the eyes of those observing with attention.

And it is exactly the art of gathering such symbols and meaning, making Francesca’s work unique and innovative.

Image 5

This photo brings the same idea of the hide-and-seek game about the wallpaper.

Using the combination of solid elements with her body, Francesca explores the fragility she assumes to her.

Tree barks around her arms represent a kind of armor, as if Francesca was not strong enough to live with no protection. At the same time, they also have an idea of camouflage. She would be hiding from the world, a fear to face her own reality, preferring to concentrate only in her photographs. It is a great example where reality mixes with the world created by Francesca, where she was safe and under control. Here we have the Imitative Representation (when tree barks have an image of armor) and Ideational Representation (barks represent the abstract idea of protection and safety).

Image 6

With this photo, Francesca reinforces the idea that her work reflects her own life, even when using different models.

Naked women represent the transparency that her work wishes to have, when portrayed her feelings and her way to see the world where she lived.It was only Francesca and her life.

It is important to say that we did not find Francesca smiling in her photographs. It also happened in the image presented. It shows that the image she showed to people about herself was not so positive. Once more, the fragility established for her body and her personality was in evidence. Francesca built her self-image in order to show elements found in her work: The phantasmagoric, distressed and melancholic atmosphere.

We found an example of Imitative Representation, exactly because women are “imitating” Francesca, when holding her face in their hands, like saying, that they were Francesca Woodman.Literally, they would be “imitating” how the photographer showed herself to the world.

7. Final Considerations

Francesca Woodman knew how to explore different ways of representation in her work. That is why her work became a reference in the history of photograph.

From simple elements, she could create complex meanings. Her work is similar to a storybook, with no words needed to tell them. In order to find a sense and linearity, you have just to observe the symbolism in her picture.

It is fundamental to notice that more than one representation way is found in a sole picture. Their sceneries are made of a combination of imitative, figured and Ideational representation.Although they are different, these representations bring a common objective to Francesca: Making her feelings and confusions transpire through photographs.In several moments, the young photographer represents her fragility when hiding her body behind solid elements; explores her femininity using elements of nature, such as flowers, proving her passage to teenage years, discovering sexuality – through mirrors placed between her legs, arrival of death, with figures created by the movement of the body, always restless, showing agony because life is coming to an end.

The combination of these different forms of representation, as well as her interpreting, shows how Francesca's work is valuable to the history of photograph. A young girl, born among artists, living in a time of cultural explosion, started a seemingly simple work:show people how her life was. The differential was exactly the way chosen to portray it.

The thin line between work and life was left behind by the young photographer. Her work used to show exactly what she lived.

Always in a melancholic and figure way, it seems that Francesca wanted to show how her live was traced to a tragic end, since the beginning – as she had planned and portrayed her end, like the rest of her work.

References

MURALHAS, Carlos. 2014. Francesca Woodman. http://imagineimedentrodeti.com/paixoes/francesca-woodman/ (last accessed 01 september 2014)

PURDY, Sean. 2007. History of USA: until the begining to the Century 21. Brasil, São Paulo.

PURDY, Sean. 2014. The Another American Dream. http://www2.uol.com.br/historiaviva/reportagens/o_outro_sonho_americano.html (last accessed 01 September 2014)

SANTAELLA, Lúcia. 2005. Matrixes of Language and Thought. Brasil, São Paulo.

SCAVONE, Valeria. 2014. Francesca Woodman, a Young Suicide Photographer. http://www.ideafixa.com/francesca-woodman-a-jovem-fotografa-suicida/ (last accessed: 01 September 2014).