- Anneè Olofsson is a Swedish artist
We were shown Anneè Olofsson’s work during a lecture and we were asked to look at her images and discuss in groups of what the image was about.
We were shown two images, one was of a woman who had her back to the camera; she appears to looks alone, until we noticed the hands under girl’s top and the other image showed the hands in the woman’s hair – I believe the series is called Skinned. We thought the meaning behind it was that someone was under the woman’s skin; something or someone was bothering her, someone was watching her or keeping hold of her. We were then told that the woman in the images was the artist and her father! After hearing this I started to read the image slightly differently – it felt creepy… and I started to wonder if the man was taking advantage of girl or was he supporting her and protecting her! It also made me think what their relationship was; specially after I did more research into her other work; in some of her other images she has someone else’s hands covering Olofsson’s face or other parts of her body, and it switches between male and female hand (the artist’s father and mother).
In her Trick or Treat series also features the artist and her father; while in another series, it’s the artist and her mother. The images of her mother look intimidating; Olofsson’s mother looks like she is over powering the artist and controlling her and watching her but the mother could be protecting Olofsson!
I’ve researched into this artist because during my Interim Critique someone pointed out that the hands in my portrait images looked like someone else – even though they weren’t they were mine. But it’s made me think about my portraits more and the possible story behind them – I just wanted to capture movement within a portrait, but everyone else seem to think they were deeper than that. I’m now torn between doing my Still life idea or the portrait (everyone seemed to like the portraits, but I’m worried that I feel I have to do them because everyone liked them). I’m going to try a shoot in the studio and see how I get on with doing these sorts of portraits with the P40, because I don’t think I’ll get the same effect like I did on my Canon camera.