Daniel Boornstein wrote, "One of the oldest of ma's visions was the flash of divinity in the great man," (45). Could it be, that humans are endless dreamers, wandering between imaginative possibilities and composing or defining or guessing what is real and how close they can arrive to the divine nature of being? Is there a a yearning to see humanity in a super realm in the eyes of our shared existence? If creating that vision happens by construction with tools of thread. jewels, light bulbs, and mechanics, then flashes of divinity can be man-powered, manifested and recorded as artifact.
Two photographs of Billie Burke display her representation photographically as a spectacle. The luminous goddess is a construction. Billie Burke is a woman who is visually scripted by an artistic imagination. Her work as an actress involves the adaptation of character and construction of an external identity. The way Billie Burke is celebrated and photographically recorded is spectacle. Her persona is perceived as an actress n an ethereal realm, of the dream space, transforming the masterworks of fine art into film/photographic works. Burke is a well known Hollywood actress, famously recognized for her acting appearance in the movie the Wizard of Oz as Glinda.
The vision of the great man, or woman, is performed by Burke. With respect to the figure, gesture, role playing and material interaction between herself and the objective of the overall imagery to communicate a desired essence, the otherworldly is sen. Her greatness is absorption of self into character. The way she presents herself before the lens of the camera is selective. She creates a visceral vision. There is this essence that exists in the space of her world that looks untouchable, like a place that heroines, or angels, or star travelers or spirits find havens within. She is expressively beautiful, displays a feminine and heavenly maternal fragility. She is calming and vivid, like the environmental naturalness of the exterior space of nature. When Billie Burke is photographed , the compositional framework of the films' edge translates from a rectangle to a window. Specifically her windows , invite gazes through them simultaneously opening to viewing spaces beyond interiority. Like windows, her eyes also express looking out, and admitting light inside. She is not trapped in a mirror of self reflection or vanity. She personifies windows and prisms; the rainbow operator as a great woman of visionary possibility and imagination.
The actual look of Burke is phenomenal. In the monochromatic portrait dressed in a beaded gown with her arms behind her back, leisure and embellishment coexist. Inside that picture she looks like sje is dreaming and believing in something outside of herself, while in the full color picture, taken from the Wizard of OZ, she looks like her dream believing becomes realized. Intently focused on a specific path constituted by her eyelines, the look is sharp as if she followed the line of the wand. In both photographs her look is angular and head on. The poses in relation to her look is compositionally effective by the photographs decisive placement and geometric picture-snapping decisions.
The zoom factor does not apply to looking at Billie Burke. If depth of field is understood as having shallow or long focal range, Burke's photographs are shallow focal ranges. The camera lens zoom out of focus and spans away from intimate proximity. Seeing Billie Burke is not about the up-close and personal view rendered by zooming in, sharp focus by a macro lens for scientific examinations. She is not viewed in these photographs in the under-th-microscope voyeurism stepping over-the-line boundary way. She is composed as a star in the distance, who does not come into the depth of field of an optically focused parallax from the onlooker or photographer. That soft sense of depth in space is gentle and blurry. Her space is not accessible to deconstruct, rather she is a "cynosure, the guiding stars of our interest,"(47). Billie Burke's presence is calculated for framing artistry for following eyes. Where she magically goes, in a bubble or in a iridescent array of beads and luxurious treasure, onlookers want to seee, and be guided by her rainbow jubilee reign. She is analogous to the Pied Piper.
Two photographs of Billie Burke display her representation photographically as a spectacle. The luminous goddess is a construction. Billie Burke is a woman who is visually scripted by an artistic imagination. Her work as an actress involves the adaptation of character and construction of an external identity. The way Billie Burke is celebrated and photographically recorded is spectacle. Her persona is perceived as an actress n an ethereal realm, of the dream space, transforming the masterworks of fine art into film/photographic works. Burke is a well known Hollywood actress, famously recognized for her acting appearance in the movie the Wizard of Oz as Glinda.
The vision of the great man, or woman, is performed by Burke. With respect to the figure, gesture, role playing and material interaction between herself and the objective of the overall imagery to communicate a desired essence, the otherworldly is sen. Her greatness is absorption of self into character. The way she presents herself before the lens of the camera is selective. She creates a visceral vision. There is this essence that exists in the space of her world that looks untouchable, like a place that heroines, or angels, or star travelers or spirits find havens within. She is expressively beautiful, displays a feminine and heavenly maternal fragility. She is calming and vivid, like the environmental naturalness of the exterior space of nature. When Billie Burke is photographed , the compositional framework of the films' edge translates from a rectangle to a window. Specifically her windows , invite gazes through them simultaneously opening to viewing spaces beyond interiority. Like windows, her eyes also express looking out, and admitting light inside. She is not trapped in a mirror of self reflection or vanity. She personifies windows and prisms; the rainbow operator as a great woman of visionary possibility and imagination.
The actual look of Burke is phenomenal. In the monochromatic portrait dressed in a beaded gown with her arms behind her back, leisure and embellishment coexist. Inside that picture she looks like sje is dreaming and believing in something outside of herself, while in the full color picture, taken from the Wizard of OZ, she looks like her dream believing becomes realized. Intently focused on a specific path constituted by her eyelines, the look is sharp as if she followed the line of the wand. In both photographs her look is angular and head on. The poses in relation to her look is compositionally effective by the photographs decisive placement and geometric picture-snapping decisions.
The zoom factor does not apply to looking at Billie Burke. If depth of field is understood as having shallow or long focal range, Burke's photographs are shallow focal ranges. The camera lens zoom out of focus and spans away from intimate proximity. Seeing Billie Burke is not about the up-close and personal view rendered by zooming in, sharp focus by a macro lens for scientific examinations. She is not viewed in these photographs in the under-th-microscope voyeurism stepping over-the-line boundary way. She is composed as a star in the distance, who does not come into the depth of field of an optically focused parallax from the onlooker or photographer. That soft sense of depth in space is gentle and blurry. Her space is not accessible to deconstruct, rather she is a "cynosure, the guiding stars of our interest,"(47). Billie Burke's presence is calculated for framing artistry for following eyes. Where she magically goes, in a bubble or in a iridescent array of beads and luxurious treasure, onlookers want to seee, and be guided by her rainbow jubilee reign. She is analogous to the Pied Piper.
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