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Anne Hardy

ANNE HARDY

Anne Hardy’s photographic work focuses on interior spaces. Her work involves de-populated rooms suggesting surreal fictions. What really makes me hold her images in such regard is the power her work has to withhold the actual experience of the room allowing our relationship with it to be purely created in our imagination. I love the amount of room she makes in her photography…

The fact that Hardy creates her space from scratch means that every detail, colour, texture and their placement are accounted for and have been put there with some form of intention.

“But what is Hardy’s intention and does she achieve it?”

I think that for Hardy her intention is to evoke the surreal. This is achieved through the use of everyday objects such as with the image above balloons, white string and cigarette butts have all been incorporated within the frame but it is not the objects themselves that are of interest but the continuity of colour and how they are placed within the frame that adds a completely different visual dimension towards the final print.

In order to make the ordinary extra ordinary you have to bring emphasis. Hardy has achieved this through the repetition and the idiosyncrasies that appears throughout her images. The continuity of colours and shapes and even repetitive nature on where the objects are placed within the space.

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With so much importance placed on attention to detail Hardys use of colour and product placement reminds me of the works of Jean-Pierre Jeunet whose visual style is also consistent but incorporates narrative. Each scene too has a familiar sense of repetitiveness through the use of a specific colour palette of warm reds and greens. As a viewer you become more visually engaged not just because it is visually stimulating but because the audience confuse the continuity with familiarity. It creates a universal genre without having to say it out loud such as with Amelie the colours and shapes that … throughout the film clearly indicate toward ‘quirky’.

In theatre a technique to subconsciously engage an audience from the start without the use of language would mean that focus would be turned towards the visual. Stereotypical characters would be introduced as they are automatically, universally and subconsciously recognised. This allows the audience to become engaged without becoming to attached and without much thinking involved.

http://web.mit.edu/allanmc/www/brecht.pdf

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Is this something Hardy has taken into account?

I question this because the way that the spaces are created involves a tremendous amount of pre-planning, it is not just thrown together. It also makes me question whether this ‘look’ is achievable as there are many external factors involved such as being on a student budget and conflicting time contraints. I also think Hardy topic area of surrealism is quite broad and leaves a lot of space for artistic interpretation whereas to create 10 spaces that each evoke a sense of paranoia would be quite tough because paranoia to me might be something different to someone else. Therefore my images could end up being misinterpreted with my project losing it’s depth and significance through this. Though further research of photographers I will be able to enrich my ideas and re-evaluate how Hardy’s work can be incorporated within my project.

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http://www.saatchi-gallery.co.uk/artists/anne_hardy.htm

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