After watching the video of MACK and Clare Strand making this photobook, it got me interested to look into what the book is about and who Clare Strand is.
Clare is a conceptual artist based in Brighton. This photobook is based on a very simple idea of her conflicting love and hate of snakes. She as a person is terrified of snake yet she collects images of people, especially women, holding snakes since 30 years ago. Clare found this notion very interesting, she said, “It strikes me as rather perverse to collect what I despise.”
The book plays around with the magnified fragment of the original images, showing the intensity of the relationship between the hand and snake, followed by the original images (sometimes snakes held by women, sometimes just the snake on its own), and then a poetry which is automatically generated from the written stories on the back of the collected press images and tweeted by Strand. “Bound in a faux-snake leather cover, the book fits comfortable in the hands—its size suitably intimate. Combining dramatic full-bleed images with full-size reproductions, the book moves in and out of the images—drawing us close and then pulling away. Love. Hate. ”
On the surface, we see the book is about the relationship between girls and snake, yet deep down, the book also reflects the momentary power that women have over the snake, that split second when there’s a balance of control. As Strand mentioned in her website, “the relationship between snakes and women has a long history, which Strand acknowledges through her discussion on the work. “The snake has been the subject of allegory and metaphor since biblical times, signifying eternity when holding its own tail; suggesting cunning and temptation to Eve; the agent of suicide for Cleopatra, and even the symbol of health and healing in the rod of Asclepius, the god of medicine. The snake can represent both good and evil, wisdom and cunning, rejuvenation and death, and, of course, sexuality and the phallus.” This book is more than just about girls and snake. It can also represents our inner conflict tug of war between good and evil.
What interest me as well about this work is that we can see this work flourish from start to end. From the concept and idea to how the book is made, how the ideas and concepts are translated into book form. And then, how that same idea and concept is translated into forms of exhibitions, showing how the same concept can be played and manipulated with different forms of publications. In the “Girl plays with snake” exhibition, the poetry are instead boldly imprinted on top of the enlarged fragment of original images. “The result is an overt and graphic interplay between text and image. Alongside the framed works, another automatic poetry generator, constructed for this exhibition, is projected onto the walls of the gallery, creating new random arrangements of Strand’s poems. The automatic text is printed out as a snaking ticker tape for the audience to tear off and take away.” This is something which increases the interactions between the artwork and the audience that can be only done in the form of exhibition, but not in a book form.
Her more renowned work about digital misinterpretation “The Discrete Channel with Noise” will be discussed next.