This series of photographs was taken by Mitra Tabrizian in large medium format in order to produce high quality resolutioned images that can be enlarged to vast proportions. This collection of photographs, entitled “Borders”, focuses on deterriorialized Iranians living in Britain as asylum seekers, immigrants and exiles. This is a controversial issue today and may cause violent response that is somewhat ironic as Britain has been multicultural ever since the creation of the British Isles and the British Empire. Multiculturalism has actually been relied upon since the first Viking arrived here. The history of our island has been ignored by the majority and replaced by a purist view. People are stereotyped by the way that they look, dress and act. Mitra Tabrizian’s series of photographs aims to deconstruct these stereotypes. For example, “A Deadly Affair” shown at the top of this page is a portrait of an Iranian man who was previously a soldier in the Shah’s Imperial Army but he is now an asylum seeker and activist making a living as a mechanic. The portrait shows him looking well-dressed – more like a professional man than the British hegemonic model of a scruffy asylum seeker. What is particularly interesting is the high contrast of light and dark areas. The man himself is dressed in dark formal attire against a light-coloured rustic background signifying his present status. The man’s body language conveys his identity. His stance indicates his personal pride. The textures and forms are consistent throughout the photograph.
Tuesday, 8 January 2008
(identity)Photograpivh Marterials:technology:applications
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This series of photographs was taken by Mitra Tabrizian in large medium format in order to produce high quality resolutioned images that can be enlarged to vast proportions. This collection of photographs, entitled “Borders”, focuses on deterriorialized Iranians living in Britain as asylum seekers, immigrants and exiles. This is a controversial issue today and may cause violent response that is somewhat ironic as Britain has been multicultural ever since the creation of the British Isles and the British Empire. Multiculturalism has actually been relied upon since the first Viking arrived here. The history of our island has been ignored by the majority and replaced by a purist view. People are stereotyped by the way that they look, dress and act. Mitra Tabrizian’s series of photographs aims to deconstruct these stereotypes. For example, “A Deadly Affair” shown at the top of this page is a portrait of an Iranian man who was previously a soldier in the Shah’s Imperial Army but he is now an asylum seeker and activist making a living as a mechanic. The portrait shows him looking well-dressed – more like a professional man than the British hegemonic model of a scruffy asylum seeker. What is particularly interesting is the high contrast of light and dark areas. The man himself is dressed in dark formal attire against a light-coloured rustic background signifying his present status. The man’s body language conveys his identity. His stance indicates his personal pride. The textures and forms are consistent throughout the photograph.
This series of photographs was taken by Mitra Tabrizian in large medium format in order to produce high quality resolutioned images that can be enlarged to vast proportions. This collection of photographs, entitled “Borders”, focuses on deterriorialized Iranians living in Britain as asylum seekers, immigrants and exiles. This is a controversial issue today and may cause violent response that is somewhat ironic as Britain has been multicultural ever since the creation of the British Isles and the British Empire. Multiculturalism has actually been relied upon since the first Viking arrived here. The history of our island has been ignored by the majority and replaced by a purist view. People are stereotyped by the way that they look, dress and act. Mitra Tabrizian’s series of photographs aims to deconstruct these stereotypes. For example, “A Deadly Affair” shown at the top of this page is a portrait of an Iranian man who was previously a soldier in the Shah’s Imperial Army but he is now an asylum seeker and activist making a living as a mechanic. The portrait shows him looking well-dressed – more like a professional man than the British hegemonic model of a scruffy asylum seeker. What is particularly interesting is the high contrast of light and dark areas. The man himself is dressed in dark formal attire against a light-coloured rustic background signifying his present status. The man’s body language conveys his identity. His stance indicates his personal pride. The textures and forms are consistent throughout the photograph.
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