Untitled: "Tullee"
Andre Speckert (ft vk-photography)
April 30 2012
[The psychology of sex: Just because two unclothed, adult bodies are placed in an intimate space together- do we have the expectation as viewers that there should or will be bodily interaction or even attraction? The female model, (named Tullee), is seen here with very closed and timid body language (covering her genitals) while contrastingly her counterpart, Andre, is seated equidistant from her, genitals exposed with very open and engaging body language. The sex dolls positioned between them seem to serve as some kind of kitsch symbols that indicate the clear expectation of implicit happenings between the two that, again, contrasts the reality. Also interesting is the dolls positioning -the male form situated above the female form on the ground. Perhaps Andre is trying to indicate an unfortunate trend pervasive in the current porn industry in which men are seen dominating submissive women as object rather than equal.]
Andre Speckert (ft vk-photography)
April 30 2012
[The psychology of sex: Just because two unclothed, adult bodies are placed in an intimate space together- do we have the expectation as viewers that there should or will be bodily interaction or even attraction? The female model, (named Tullee), is seen here with very closed and timid body language (covering her genitals) while contrastingly her counterpart, Andre, is seated equidistant from her, genitals exposed with very open and engaging body language. The sex dolls positioned between them seem to serve as some kind of kitsch symbols that indicate the clear expectation of implicit happenings between the two that, again, contrasts the reality. Also interesting is the dolls positioning -the male form situated above the female form on the ground. Perhaps Andre is trying to indicate an unfortunate trend pervasive in the current porn industry in which men are seen dominating submissive women as object rather than equal.]
"All Hail the King/ The King is Dead"
Andre Speckert
Jan 31 2013
[This two-part photo diptch “All Hail the King” and “The King is Dead” is a modern take on the historical, narrative-type image. In the first image, “All Hail the King”, we see a naked, bearded man seated comfortably and flanked by two cropped female figures. He stares unabashedly at the viewer, a masculine presence whose expressions sits somewhere between smug and confident. Historically, the image is very reminiscent of a powerful character surrounded by a harem of women. The symmetry of the two female figures with hands intermingled atop his head direct the viewers’ gaze back to the point of prominence or focal point. In the second image “The King is Dead”, we see the after-effect in the wake of ‘the kings death’. Formally, the photograph has a lot going for it; notably the foreground/background push pull of figures combined with the narrowed, one-point perspective. The two women are seen seated in the hall with dramatized expressions of grief with hands covering their faces. However, the ghostly image of the deceased king is most interesting. He is depicted standing erect, covered in (white powder or perhaps even flour) again starting intently at the viewer, oblivious to his own demise.]
Andre Speckert
Jan 31 2013
[This two-part photo diptch “All Hail the King” and “The King is Dead” is a modern take on the historical, narrative-type image. In the first image, “All Hail the King”, we see a naked, bearded man seated comfortably and flanked by two cropped female figures. He stares unabashedly at the viewer, a masculine presence whose expressions sits somewhere between smug and confident. Historically, the image is very reminiscent of a powerful character surrounded by a harem of women. The symmetry of the two female figures with hands intermingled atop his head direct the viewers’ gaze back to the point of prominence or focal point. In the second image “The King is Dead”, we see the after-effect in the wake of ‘the kings death’. Formally, the photograph has a lot going for it; notably the foreground/background push pull of figures combined with the narrowed, one-point perspective. The two women are seen seated in the hall with dramatized expressions of grief with hands covering their faces. However, the ghostly image of the deceased king is most interesting. He is depicted standing erect, covered in (white powder or perhaps even flour) again starting intently at the viewer, oblivious to his own demise.]
"Light & Shadow"
Andre Speckert
Sept 7th 2013 NYC
[This photograph entitled “Light and Shadow” is a formally striking image that primarily deals with (as the title suggests), chiaroscuro and the stark use of light and shadow. More significantly though, it shows the viewer differences and similarities in the male and female forms. The image may also be a conscious ode to Diane Arbus’s 1963 photo, “A Husband and Wife in the Woods at a Nudist Camp” in which we also see two figures of the opposite sex standing plainly, with hands clasped near one-another. Again, the “king” or Brooklyn native (who goes by the name PostMortem), is featured as the male figure. One can also see the similarities to dramatic film noir lighting and particularly the strange kind of taut stillness the couple exude as with the iconic twins’ scene in Stephen King’s 1980 cinema adaptation of “The Shining”.]
Andre Speckert
Sept 7th 2013 NYC
[This photograph entitled “Light and Shadow” is a formally striking image that primarily deals with (as the title suggests), chiaroscuro and the stark use of light and shadow. More significantly though, it shows the viewer differences and similarities in the male and female forms. The image may also be a conscious ode to Diane Arbus’s 1963 photo, “A Husband and Wife in the Woods at a Nudist Camp” in which we also see two figures of the opposite sex standing plainly, with hands clasped near one-another. Again, the “king” or Brooklyn native (who goes by the name PostMortem), is featured as the male figure. One can also see the similarities to dramatic film noir lighting and particularly the strange kind of taut stillness the couple exude as with the iconic twins’ scene in Stephen King’s 1980 cinema adaptation of “The Shining”.]