Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits

This article aims at furthering our understanding of costuming in self-portraiture through the analysis of Janieta Eyre’s photographic works. Exploring the fictionalizing potentialities of photography and flouting the conventions of self-portraiture, the Canadian artist stages her multiple doubles i...

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Main Author: Valérie MORISSON
Format: Article
Language:English
Published: Laboratoire d’Etudes et de Recherches sur le Monde Anglophone (LERMA) 2019-06-01
Series:E-REA
Subjects:
Online Access:https://journals.openedition.org/erea/7864
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author Valérie MORISSON
author_facet Valérie MORISSON
author_sort Valérie MORISSON
collection DOAJ
description This article aims at furthering our understanding of costuming in self-portraiture through the analysis of Janieta Eyre’s photographic works. Exploring the fictionalizing potentialities of photography and flouting the conventions of self-portraiture, the Canadian artist stages her multiple doubles in a playful yet introspective way. The studio becomes an experimental huis-clos harbouring fantasy self-explorations. The costumes that she assembles allow for complex dramatizations of the othered self. In these performative self-fictions the costume constitutes a prosthetic device. Her burlesque impersonations address gender identity in a subversive way. Judith Butler’s view of gender as stylized repetition of acts chimes in with Eyre’s use of seriality and endless mises-en-abyme, while Paul Gee’s definition of projective identity as a liminal form of identity—an interface between the real and the virtual self—and other researchers’ exploration of the avatar in game theory shed additional light on Eyre’s use of costuming.
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spelling doaj-art-aaf7a6b3858c480ba4755bea273497242025-01-09T12:54:45ZengLaboratoire d’Etudes et de Recherches sur le Monde Anglophone (LERMA)E-REA1638-17182019-06-0116210.4000/erea.7864Costumed doubles and avatars in Janieta Eyre’s photographic self-portraitsValérie MORISSONThis article aims at furthering our understanding of costuming in self-portraiture through the analysis of Janieta Eyre’s photographic works. Exploring the fictionalizing potentialities of photography and flouting the conventions of self-portraiture, the Canadian artist stages her multiple doubles in a playful yet introspective way. The studio becomes an experimental huis-clos harbouring fantasy self-explorations. The costumes that she assembles allow for complex dramatizations of the othered self. In these performative self-fictions the costume constitutes a prosthetic device. Her burlesque impersonations address gender identity in a subversive way. Judith Butler’s view of gender as stylized repetition of acts chimes in with Eyre’s use of seriality and endless mises-en-abyme, while Paul Gee’s definition of projective identity as a liminal form of identity—an interface between the real and the virtual self—and other researchers’ exploration of the avatar in game theory shed additional light on Eyre’s use of costuming.https://journals.openedition.org/erea/7864doubleburlesquefemininityavatarcostumedopplegänger
spellingShingle Valérie MORISSON
Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits
E-REA
double
burlesque
femininity
avatar
costume
dopplegänger
title Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits
title_full Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits
title_fullStr Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits
title_full_unstemmed Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits
title_short Costumed doubles and avatars in Janieta Eyre’s photographic self-portraits
title_sort costumed doubles and avatars in janieta eyre s photographic self portraits
topic double
burlesque
femininity
avatar
costume
dopplegänger
url https://journals.openedition.org/erea/7864
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