В первой подборке о фотографии в украшениях есть работы Gijs Bakker, Kristin Diener, Mary Hallam Pearse, в которых используется изображение тела.
Еще работы с этой темой.
Nathalie De Smedt. Diversion necklace. 2012
Andrew Kuebeck. Identities
Attending Indiana University, the home of the Kinsey Institute, I took it as a personal goal to correct what I perceived as a dearth of nude male representations in contemporary art jewelry. As an undergrad I became aware of photographers like Arthur Tress, Bob Mizer, Duane Michaels, the duo Pierre et Giles and others who I saw liberate the male nude in contemporary photography. In their images I saw power, sensuality, notions of dominance and passivity, and countless narratives each seamlessly employing the male nude. As a metalsmith, I was hoping to add this same variety to the jewelry field, both visually and conceptually.
The use of attributes as a means of conveying a story, and demonstrating their importance to an identity was the crux of this extended series. Each enamel brooch in this series looked at literary, mythological, or pop culture characters and their association with attributes. In this work I strip the characters of all, except these attributes, and ask the viewer how they witness the narratives differently. This work dealt not only with the sometimes humorous juxtaposition of characters and objects but also looks at how attribute identification effects one's understanding of individuals, situations, and identities. This series allowed me to continue to explore decal imagery on enamel while also allowing me to combine my interest in attribute identification with the use of male figure models in my photographic work.
Beefcake photography and the work of Bruce of Los Angeles in particular were influential in the photography of these pieces. Strong, muscular, masculine male models held tools and other objects relevant to specific narratives I had heard growing up. I hoped that with these pieces I could reference a range of specific stories dealing with masculinity where in traditional beefcake images the props used did not.
Gabriela Sánchez y Sánchez de la Barquera
Have you seen a sad flower or a stressed tree?
Have you ever discovered a bird without self-confidence or a rabbit dragging resentment and hate?
Different species inhabit this planet and for most living beings, negativity is unnatural. Human psyche is often related to negative mental states and harmful concepts. A leather brooch collection that invites people to be closer to a natural simpler acceptance of oneself.(AB)NORMAL CAMEO
Cameos are carved jewelry pieces that were worn in early days by wealthy women. Traditionally they frame aesthetically admired images such as elegant feminine profiles, flowers or picturesque landscapes. A cameo, like almost any other jewel, has been a mean to represent status.
Humans reject ugliness.
We aspire to be appreciated and beautiful. We tend to hide our physical defects and try to repair any imperfections. We fear being repulsive and are disgusted by deviations from the norms of beauty.
Gabriela Sánchez asked people to photograph what they perceive as an ugly spot on their body, and framed the photos she received to be worn as cameos.
A jewelry collection that invites people to question the social ideals of beauty. How real is the beauty we see? How abnormal is the ugliness we hide?Akiko Shinzato. Another Skin
This collection is about people’s obsession with their appearances. We perform appearance managements for the sake of beauty, from dieting to exercise, makeup to cosmetic surgeries and so on. Facebook and other social networking services are used to broadcast certain images of self and “make up” an identity. We treat our appearances according to how we want to be seen by others and put this alternative veil of identity on the faces. In other words, our appearances can be modified and manipulated as we wish.
In addition, appearance managements are enacted so as to keep self-esteem. In fact, physical attractiveness affects a person’s mind; the more you feel that you are attractive, the more you get confident. Historically, women used men’s outfit to project power. Therefore, in this collection I am using the aesthetic and structural idea of a pair of pince-nez as an element of Victorian attire that attaches and detaches to maintain the self-esteem of the wearer.
This collection is a series of jewellery around the face since facial features are the most important parts to the first impression and what most people care about. It explores how simply and easily you can change your appearances with a piece of leather or crystals, and it consists of two series: Wearing makeup and Putting on someone's identity. In the crystal series “Wearing makeup,” the wearer adopts the masked features of a painted clown. In the leather series “Putting on someone’s identity,” a wearer mixes her own facial features with that of others; whereas she looks at herself reflected in mirrors at the same time. Each piece of the collection partially hides the facial features of the wearer whilst revealing a whole other identity.