Gnarwhala FX

Scanograph of Gelatin, 2016. FX grade gelatin.

Scanograph of Gelatin Mask, 2016. FX grade gelatin, makeup.

Heroine, 2015. Photography, special fx makeup, and photo manipulation by Leyla Mitchell

This work explores the paradox between fashion advertising as a dangerous proponent of unrealistic standards, and as a mode for ordinary people to transcend the banality of life through an imaginative art form. Avant garde makeup and fashion photography in Vogue, such as the work of Irving Penn, blurs the boundaries between art and advertisement, and becomes too bizarre to be believable, while still selling a product. Impossible, but still alluring, such photos express a fantasy that would never be attractive outside of the highly controlled environment of the photograph. By taking this convention and pushing it to the extreme, I aim to create an almost grotesque yet still alluring image. This project is also influenced by Cindy Sherman’s bizarrely made-up caricatures, and by Claude Cahun’s mysteriously androgynous and theatrical self portraits.

The aesthetic of fashion photography in combination with untraditional elements, such as horror and the grotesque, add a surprising dimension. The space that the figure inhabits is self aware in its artificiality, composed of multiple separate layers that combine to create a disorientingly infeasible environment. The lighting and pose reference fashion and makeup photography, dramatically highlighting and contrasting natural and unnatural forms.

The use of candy on the body draws a parallel to makeup in its colourful artificiality, and invokes ideas of decadence, desire, and consumption. The removal of features objectifies the figure, while at the same time she remains powerful and present, empowered through embodying the impossible fantasy.

Heroine, 2015. Photography, special fx makeup, and photo manipulation by Leyla Mitchell

This work explores the paradox between fashion advertising as a dangerous proponent of unrealistic standards, and as a mode for ordinary people to transcend the banality of life through an imaginative art form. Avant garde makeup and fashion photography in Vogue, such as the work of Irving Penn, blurs the boundaries between art and advertisement, and becomes too bizarre to be believable, while still selling a product. Impossible, but still alluring, such photos express a fantasy that would never be attractive outside of the highly controlled environment of the photograph. By taking this convention and pushing it to the extreme, I aim to create an almost grotesque yet still alluring image. This project is also influenced by Cindy Sherman’s bizarrely made-up caricatures, and by Claude Cahun’s mysteriously androgynous and theatrical self portraits.

The aesthetic of fashion photography in combination with untraditional elements, such as horror and the grotesque, add a surprising dimension. The space that the figure inhabits is self aware in its artificiality, composed of multiple separate layers that combine to create a disorientingly infeasible environment. The lighting and pose reference fashion and makeup photography, dramatically highlighting and contrasting natural and unnatural forms.

The use of candy on the body draws a parallel to makeup in its colourful artificiality, and invokes ideas of decadence, desire, and consumption. The removal of features objectifies the figure, while at the same time she remains powerful and present, empowered through embodying the impossible fantasy.

Skeleton costume and makeup, Halloween 2015.

Process for Seashells Makeup

1. I started with a clean heavily moisturized face, and flattened my long hair in a pony tail with hairspray. My pony tail will end up hidden behind my neck in the final photo.

2.This is my first time ever applying a bald cap, so quite exciting! I applied spirit gum onto my forehead first, then I cut out the ear section (I won’t go into this because there are lots of good tutorials on applying bald caps), and stuck down the side burn area and then neck pieces in the same way. 

3. I used Ben Nye nose and scar wax to cover my eyebrows. You never want to use liquid latex on any hair, so the wax was a great alternative to create a smooth base over my brows. I smoothed it down with baby oil and powdered with Ben Nye colourless setting powder.

4. My original plan was to cover my bald cap in Prosaide adhesive and then stick all the shells on in one go. Unfortunately this was not sticky enough so I ended up having to apply the adhesive to each shell individually before sticking it on. This took a REALLY long time. If anyone has any better ideas do let me know.

5. I used the trimmed-off ear part from the latex bald cap to create an eye patch (genius, I know), closing my eye beneath and adhering the patch with spirit gum. 6. Proceeding with the same method, I continued covering my face and the latex eye patch with LOTS of shells. So many shells. Note that I am using Prosaide professional special FX prosthetic adhesive here in thick cream form, so it is safe for skin. I let it dry out a little bit before using so that the consistency was easier to work with.

7. I covered one eye entirely while leaving the other eye free (it was VERY necessary for me to be able to SEE in order to complete the rest of this makeup and to take the photo - even the lack of depth perception from having only one eye is quite tricky). I then used a white air brush makeup to tint my whole face, neck and head white.

8. After getting the photo I wanted I removed the first eye patch and moved it to the other eye, holding the same pose for another photo.

Zombie test run, 2015. Ben Nye creme colours, prosthetic jaw.