Fictitious Portraits / 1992
Look closely at Keith Cottingham's constructed reality. Beneath the surface of what simply appears to be photographic realism, Cottingham uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty.
Constructed reality. Beneath the surface of what simply appears to be photographic realism, Cottingham uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty.
Look closely at Keith Cottingham's constructed reality. Beneath the surface of what simply appears to be photographic realism, Cottingham uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty. Uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty.
Beneath the surface of what simply appears to be photographic realism, Cottingham uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty. As identity and perception are called into question, the images do not pulse with humanity and life force.
Process Archive
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Beneath the surface of what simply appears to be photographic realism, Cottingham uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty.
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Beneath the surface of what simply appears to be photographic realism, Cottingham uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty.
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It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.
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It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.
Influences
From the inception of photography in the early 19th century, several photographers have experimented with photographic fiction. From the inception of photography in the early 19th century, several photographers have experimented with photographic fiction.
Hippolyte Bayard (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction.
Lewis Carrol (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction. Robinson seamlessly combined five separate negatives to produce this intimate narrative of family tragedy.
Nancy Burson (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction. Robinson seamlessly combined five separate negatives to produce this intimate narrative of family tragedy.
Cindy Sherman (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction.
Lynn Hershman Leeson (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction. Robinson seamlessly combined five separate negatives to produce this intimate narrative of family tragedy.
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