Title: Melancholia, 2016
Photographer: Tannaz Sharokh
Portrait frame, with a black and white self-portrait mostly in black, black that covers the face, with its squatting and breaking the body’s natural form, invites the viewer to see a cepstral picture in expressionism.
The face is covered with cloth; the body is placed on the center line of the picture in a squatting position; the hands and legs are stretched out on each other which allows the picture shout out its black word to viewer.
It’s face is covered so it does not have a voice to shout out with, its eyes are close to say it does not have an ability to see, and at the end the hands and legs squatting, so it drags the viewer into its deformed world, female subject, the women who have suffered aggression and injustice in different periods of time, now she is exhausted, she does not have the power to shout out, and at the end she can’t do anything but squat in its world.
Gray domains with low contrast, geometrics in irregular forms, and the weak light from the left side of the picture, all helped the subject as a concept. The face of the subject is the beginning point of what the eyes see, and after that they see the very wide hands in the middle and then the legs. The long nails are such wounds to the exhausted heart that come from the scream.
The shadow on the lips of the girl in the picture has made the silence of the subject louder, the dynamic frame of the portrait with negative black spaces, are in conflict with the silence and static imagery of the picture and drag the viewer into the beauty of this conflict and the result is a loop crossing the dynamicity of the frame to the exhaustion and silence of the covered face subject.
The photographer by putting the elements in their right places, and each with the power of their concepts, has played to their role and has reached the picture’s concepts successfully.