The Place Where The Light Enters You: Artwork by Polly Penrose

Curated by Lilly Ball

/


A Body of Work is a series of self portraits taken over seven years. I set out to take strong, powerful, dynamic and interesting nudes and started to use myself as a model—firstly as I was always available, and then because I realised something interesting was happening. I could push myself further than I could other models and by shooting myself, the pictures became a visual autobiography. The pictures are very spontaneous within the space, I never plan them I just work with what’s there, it’s like a secret conversation between myself and the location, a bit of silent theatrics which I document. Because I’m alone, often in quite scary places when I shoot, the atmosphere and my mood is very raw and saturates the pictures. The process of taking the pictures is punishing. It leaves me bruised and aching. Every picture is taken on self-timer, which makes for a repetitious, highly physical process of running between the camera and the pose, making adjustments as I go. It feels like I’m hammering my body into the landscape of the room, one picture at a time. On reflection I can see that my state of mind at the time of shooting definitely feeds into the imagery, my choice of pose and the general feeling of the work. A Body of Work as it stands is just the first seven years. I want to keep taking them until I can no longer move to do it. It will be interesting to see my body age and how the poses and locations will change with it.

 

IMG_7487_v2“Untitled,” (June 2011). Archival pigment print on Harman Gloss Fiber paper. 27 x 40.7 centimeters. Edition of 10. Courtesy the artist. IMG_7411“Untitled,” (June 2011). Archival pigment print on Harman Gloss Fiber paper. 27 x 40.7 centimeters. Edition of 10. Courtesy the artist. IMG_7291“Untitled” (June 2011). Archival pigment print on Harman Gloss Fiber paper. 27 x 40.7 centimeters. Edition of 10. Courtesy the artist. IMG_5713“Untitled,” (June 2011). Archival pigment print on Harman Gloss Fiber paper. 40.7 x 27 centimeters. Edition of 10. Courtesy the artist.

IMG_5069“Untitled,” (September 2010). Archival pigment print on Harman Gloss Fiber paper. 40.7 x 27 centimeters. Edition of 10. Courtesy the artist. “Untitled,” (April 2014). Archival pigment print on Harman Gloss Fiber paper. 40.7 x 27  centimeters. Edition of 10. Courtesy the artist.

IMG_1156“Untitled,” (September 2012). Archival pigment print on Harman Gloss Fiber paper. 40.7 x 27  centimeters. Edition of 10. Courtesy the artist. IMG_0728_v3“Untitled,” (August 2009). Archival pigment print on Harman Gloss Fiber paper. 27 x 40.7  centimeters. Edition of 10. Courtesy the artist. IMG_0423_v2“Untitled,” (March 2008). Archival pigment print on Harman Gloss Fiber paper. 27 x 40.7 centimeters. Edition of 10. Courtesy the artist. 2976_v2 copy“Untitled,” (June 2011). Archival pigment print on Harman Gloss Fiber paper. 18.2 x 27.3 centimeters. Edition of 10. Courtesy the artist.

 

Words by Polly Penrose


Polly Penrose studied Graphic Design at Camberwell College of Arts in London. She went on to work in fashion styling and after that worked for the photographer Tim Walker. She has always taken photographs, but started to take the practice seriously when she entered and won a competition held by the London Photographic Association in 2008. She held her first solo show, A Body of Work, at the Downstairs at Mother Gallery in May 2014. She will participating in a show, Dear Sylvia, at the Australian Centre for Photography January 31—March 22 of this year. You can view more of her work at www.pollypenrose.com


About

Lilly Ball joined FORTH Magazine as Art Director/Brand Manager in the Fall of 2014. She is interested in writing, people, and the forest. lilly@forthmagazine.com.


Would you like to share your thoughts?

Your email address will not be published.

© 2014 forth magazine