Monday, 2 July 2018

Meet Lucie Blissett, The Photographer Capturing Women's Issues In Society


"I am BA photography student who is currently in my third year at Leeds Art University. My work tackles women's issues in society and I am submitting three of my series I have worked on while being at university.

'Invisible Pain' a body of work that explores the unseen agony that 1 in 10 women suffer with in the UK. Both my sister and cousin have the condition Endometriosis, and my work demonstrates the unbearable pain they go though which makes for a complicated lifestyle. Endometriosis is a condition where tissues that behave like the lining of the womb, is found outside in places such as the ovaries,the bowel or bladder. To create these photographs, I asked my sister and cousin to manipulate the coloured paper to show what is feels like to have this condition. They ripped, screwed, cut and stuck a knife into the paper to crate these beautiful paper sculptures. The quotes underneath the images are taken from a diary my mum kept in the three years my sister struggled to handle her condition. 












'Self Portraits of My Gendered Objects,' which was developed during writing my dissertation this year. The photographs are examining my own material culture. The belongings I own display my female gender thought colour, texture and the relation it has to society exceptions of gender roles. Each photograph shows my own objects taken from my home and placed in a studio environment. The investigation is to question, how femininity is seen in our contemporary society and how it still hasn't changed. 





'Forbidden Fruits' explore the ideas of the heterosexual male gaze. In these photographs, the fruit appear sexualised and alluring representing the male ideal of the female body. For centuries, men have viewed women as erotic objects in high art and popular culture. The model's contrast this as they look straight at the viewer, they are in control. The women appear confident in their sexuality whilst we are objectifying them. They recognise how they are observed as a vision. They steal back the power of the gaze."




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