Exhibition Examples

About

My name is Mark Murfitt, and creating photographic joiners is my passion.

‘Joiners’ is the name given to the slightly odd looking type of photography found on this site (I’ve also heard them called composite and montage compilations, but I prefer to call them joiners).

I’ve been creating joiners for the past three years, and have fallen in love with the way they represent an over photographed cityscape/landscape  making it come alive with new detail.
As a photographer the trick to taking a great landscape photo is to find an ‘angle’, which for an over-photographed subject can be very difficult, however when that same landscape is photographed as a joiner it looks completely new and fresh..or at least I think so.

One of my joiners can consist of up to 100 individual photographs, which I then ‘join’ using top secret software techniques to form a single image. The process of photographing and putting a joiner together can take some time, the variables being accessibility and complexity, but around two days for the entire process isn’t unusual.

LONDON

MARK MURFITT

The LENSCRATCH Self-Portrait Exhibition 2011

Michelle Marie Murphy, Self in the Midwest, Cleveland, OH

Tom M Johnson, Pin Hole Self Portrait, Lakewood, CA

 Dana de Luca, "After a certain age every man is responsible for his own face" (A. Camus), Milan

 Olivia Carpenito, Self Portrait, Billerica, MA

 Joseph Verrastro, The Night Visitor, Buffalo, NY

 Philippe Calia, Untitled, India, 2007

Robert Mapplethorpe

Self Portraits

May 2 - June 15, 2013

New York

Robert Mapplethorpe
Self Portrait
1988
Silver Gelatin Print

Press Release

Robert Mapplethorpe
Self Portraits
May 2 – June 15, 2013

Skarstedt Gallery is pleased to announce the exhibition Robert Mapplethorpe Self Portraits, featuring eleven photographs that illustrate the artist’s long-term fascination with the genre. As variously costumed characters, Mapplethorpe researches his own identity, capturing his complex and contradictory nature. Whether depicting himself in a playful, fierce, or vulnerable state, the artist’s explorations are intensely personal and self-reflexive.

In a number of early self-portraits, Mapplethorpe boldly explores the notion of gender. In one work from 1980, the artist appears as a sneering, smoking greaser – a James Dean archetype. In another from the same year, Self Portrait (with make-up), Mapplethorpe blurs his gender identity by appearing in partial drag, his face dramatically made-up. By employing conventional signs for man and woman - physical, cosmetic, and sartorial - Mapplethorpe questions established notions of "male" and "female.” This gender-bending game is once again played in a third self-portrait from 1980. Wrapped in a fur collar, Mapplethorpe’s striking profile makes direct reference to Duchamp’s female alter-ego, Rrose Sélavy. In his homage to Duchamp, Mapplethorpe is showing his keen awareness of historical precedents and influences.