Exhibitions Open Source Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE #18 – KELEENNA ONYEAKA

1 October - 31 October 2020

Projects

Tobias Zielony — Maskirovka

27 August 2020

Projects

Save Some Space (The Time We Call Our Own Online #4)

20 August 2020

Events

Open Rooms #9 Access to Art: Who is art for?

24 September 2020

Projects

PLATFORM Issue 2: The New Normal

18 September 2020

Events

Harold Offeh: When Was the Time I Could Call My Own?

1 October 2020

Projects

Andrew Miksys — Disko (The Time We Call Our Own: Online #3)

6 August 2020

Projects

Oliver Sieber: Imaginary Club (The Time We Call Our Own: Online #2)

30 July 2020

Projects

Getting Ready: Amelia Lonsdale and Her Mum (#1)

23 July 2020

Exhibitions Open Source Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE #17 – SAMANTHA JAGGER

3 September - 30 September 2020

Exhibitions

you out tonight?

10 August 2020

Projects

folio20: Hugh Baird University Centre

10 August 2020

Projects

Sarah Eyre (Untitled)

10 August 2020

Projects

Activity Packs for Older People

20 July 2020

Projects

Young People + Family Activity Packs

20 July 2020

Projects

Open Rooms #3: Photographing the Internet (w/ Mishka Henner)

7 May 2020

Projects

Open Rooms #2: Separated Together

30 April 2020

Projects

Open Rooms #7: Photography Does Not Love You (Katrina Sluis w/ Jacob Bolton)

2 July 2020

Projects

Open Rooms #8: Photography and Racialisation

9 July 2020

Projects

Open Rooms #5: Class of 2020 — Seba Kurtis in conversation with Mariama Attah

18 June 2020

Projects

Love is an Action

11 June 2020

Projects

OPEN ROOMS #4: INDEPENDENT PUBLISHING W/ COLIN WILKINSON

21 May 2020

Open Eye Stories

4 May 2020

Open Rooms

4 May 2020

Exhibitions

Online Programme

15 March 2020

Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE #16 – PAULINA KOROBKIEWICZ

1 March - 31 March 2020

Main Exhibition Future Exhibitions

Exhibition: The Time We Call Our Own

3 September - 23 October 2020

Exhibitions Past Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE #15 – JONATHAN LYNCH

1 February - 29 February 2020

Projects

PLATFORM Issue 01

21 January 2020

LAUNCH: THE DARK FIGURE*

20 February - 20 February 2020

Past Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE #14 – SAHAN NUHOGLU

16 January 2020

Exhibitions

VISUAL RIGHTS

16 January - 22 March 2020

Exhibitions

THE DARK FIGURE*

20 February - 22 March 2020

Past Exhibitions

EXPOSED

3 April 2020

Exhibitions Past Exhibitions

DIGITAL WINDOW GALLERY: NOW, FOR THE FUTURE – OPEN SOURCE X SHUTTER HUB

1 November - 30 November 2019

Past Exhibitions

Brilliant City 中文

30 October - 16 November 2019

Tong Yan Gai — Chinatown—中文

7 October - 24 October 2019

Exhibitions

HE 中文

17 October - 21 December 2019

Exhibitions

JUMP! 中文

4 October - 26 October 2019

Exhibitions

A Room of Our Own: a Fast Forward Women in Photography Exhibition 中文

17 October - 21 December 2019

Exhibitions

DINU LI: ANATOMY OF PLACE — (中文)

17 October - 21 December 2019

Exhibitions

Peer to Peer 中文

17 October - 22 December 2019

Exhibitions Past Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE 12 – KATHY ANNE LIM

1 October - 31 October 2019

Past Exhibitions

LOOK PHOTO BIENNIAL / SATELLITE

17 October - 21 December 2019

Past Exhibitions

JUMP! — Curated by Sian Bonnell

4 October - 26 October 2019

Past Exhibitions

UCLan: Brilliant City

30 October - 16 November 2019

Exhibitions Past Exhibitions

Derek Man & Tobias Brebner: Tong Yan Gai — Chinatown

7 October - 24 October 2019

Past Exhibitions

YAN WANG PRESTON: HE

17 October - 21 December 2019

Past Exhibitions

A Room of Our Own: a Fast Forward Women in Photography Exhibition

17 October - 21 December 2019

Past Exhibitions

Dinu Li: The Anatomy of Place

17 October - 21 December 2019

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© Jocelyn Allen. From the series 'Nice Hair, Shame About Your Face', 2019.
© Jocelyn Allen. From the series 'Nice Hair, Shame About Your Face', 2019.
© Jocelyn Allen. From the series 'Nice Hair, Shame About Your Face', 2019.

‘RECOMMEND SHOOTING WITH A POSITIVE FACE’, AN OVERVIEW OF THE WORK OF JOCELYN ALLEN BY SAM PHASEY

‘Most of my photographic work goes between hiding and revealing.’[1]

Jocelyn Allen’s autobiographical photography is honest and articulate. The photographs in each series work through processes of self-reflection and introspection; each series draws out personal conflicts and lays them bare (sometimes literally) and each series has a specific theme or concept that it invites the viewer to engage with.

Allen’s self-portraiture is almost confessional, relaying sites of anxiety and struggle, wittily, whimsically. The artist is compulsively self aware, and this self awareness renders out in her work in charming and relatable turns. Smile Love (2019), a gif in which, in response to the titular injunction, the artist’s face morphs between cartoonish depression and a rictus gurn, is particularly emblematic of Allen’s playful comedy: acutely self-reflexive, and captioned with an irreverent stream of hashtag (self)consciousness.

Allen locates herself socially in National Statistic (2011), and familially in One is Not Like The Other (2010), but her work most frequently concerns the relationship between the artist and herself: her photographs process themes relating to body image, self-esteem and anxiety, often at the same time, and with particular respect to the alienating conditions in which we construct selfhood in postmodernity.

In her 2017-19 project Nice Hair, Shame About Your Face, Allen explores her experiences of hostility and the gaze on social media, and how those experiences have shaped her self(ie)-image. In the series, she focuses on manipulating selfie portraits using the litany of ready-made beautification apps that are marketed online, primarily to women. Each photo traces her encounters with the ‘enhancement’ apps, and rather than the photos emerging as completed images, we are made privy to the procedures themselves: the ‘UX’, and the errors aroused in the software by Allen’s unsmiling face. The piece’s title refers to a memorable insult from the artist’s childhood, and in recycling the phrase, she possesses it, reshaping it into a self-deprecating witticism, just as she reframes and repurposes the complaints leveled against her by the apps: ‘Recommend shooting with a positive face’.

Allen’s work often litigates its themes through the repetition and redoubling of images, in doing so presenting us with short, discreet narratives that emerge in the differences— the lapses— between them. Those lapses can hide or reveal signs and symbols; can disclose or dissimulate interpretations, just as Allen’s photographs can either hide or reveal her selfhood, her presence.

 

‘The philosopher Søren Kierkegaard said that life begins and ends with the individual. During a phase where I could not think of anything other than the meaning of life, I thought that a person’s existence is generally made up of seven major stages.’[2]

In 2013, Allen self published Reality of Youth Going Backwards in Vain, a project she had worked on during her final year at the University of Wales. Reality, the photographer’s first self-portrait series, was inspired by the individualism of Kierkegaard. Across the vignettes, Allen articulates and anticipates the ‘seven major stages’ of life she has experienced or will experience. Each variegated stage is expressed in relation to a colour, hence the mnemonic title. The ‘white’ totality of her being is made prismatic: subdivided across the spectrum-sequence of images. ‘[T]o dissect how the number 7 became divine, I fear we would require an entire library.’ As the photobook’s included essay (Joanna L Cresswell) makes clear, the number seven resonates across the literary and mythic canons, and those echoes­— of the seven deadly sins, of Shakespeare’s ‘seven ages of man’— reverberate also in Allen’s vignettes, further structuring our already ‘coloured’ responses.

Allen also works with video: her ongoing project Your Dedication Worries Me A Little (released under the pseudonym Helena Teasdale), in which she dances along to her favourite songs, engages with similar themes to the rest of her work: identity, perception and self image. However, this YouTube series introduces a performativity and an energy that are only fleetingly present elsewhere in her output. The video anthology is distinctly reminiscent of the forms of unabashed self-expression that were emergent during the platform’s infancy, and consequently acts as an exhaustive continuation of the medium, and an examination/ narrativisation of the way we control self-image and self-representation online.

In a 2016 interview with Photoworks for their Ideas on Talent series, Allen discusses her fear that she may be perceived as a ‘one trick pony’, owing to her focus on self-portraiture. This focus, and the clarity of her approach, however, have allowed her to elucidate powerful, personal and earnest responses to some of the defining problems of selfhood in the modern era.

Jocelyn Allen’s Series Nice Hair, Shame About Your Face is showing on Open Eye Gallery’s Digital Window Gallery as part of Open Source #10 for the entirety of August 2019. Hear Jocelyn discuss her practice and work on August 22.

RSVP: https://openeye.org.uk/whatson/open-source-in-conversation-jocelyn-allen/

 

 

[1] Jocelyn Allen Ideas on Talent Interview, Photoworks. https://photoworks.org.uk/ideas-series-interview-jocelyn-allen/

[2] Jocelyn Allen Reality of Youth Going Backwards in Time, Artist’s Website. https://jocelynallen.co.uk/realityofyouth.

 

 

Words: Sam Phasey

Images: Jocelyn Allen

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