At first glance it appears to be constructed set pieces, perhaps from a theater stage, but closer in reality the set is small-scale cut paper and shadow puppets. Her photographic eye evolved over time into the surreal and theatrical work that defines her style today. Constructing images is Kidd’s preferred method of working. Unlike most photographers who record and interpret the world around them, even if aided by props and costumes, Kidd finds freedom in creating a tableau from raw materials. Of her process she says, “I know very little about Photoshop. Not because I am against it, but rather I relish in the experience of cutting paper, using tape, playing with textured fabrics and then my camera translates it into something even more magical than I expected.” It is the unexpected that keeps her interested in the medium. Each photograph begins as a dream or a flash of inspiration. She allows it to marinate in her consciousness until it is time to enter the studio. Once there, she allows her subconscious and emotions to take over and guide the camera to the final image. Her photographs require some pre-planning to determine what materials might be needed, but once she is behind the camera, the characters and scenes she has created take on a life of their own. (Excerpt from a gallery interview with Angelina Kidd)
It is true that there is no scientific proof of life after life and of the human soul. However, I believe there is a soul and it is energy recognized as light. I am drawn to the duality of light and dark--conceptualized as absence and presence. My work focuses on the connection humans have with the natural world. By means of my constructed imagery, I propose that when our bodies die our soul as light energy become one with the environment, leading to the continuation of life.
Angelina Kidd created the technique of constructed imagery while pursuing her Master of Fine Arts at Lesley University College of Art and Design. Each piece is crafted by hand with a selection of raw materials, including tissue and construction paper, drawings, sketches, photographs, and plants. The three-dimensional, densely layered piece is then photographed with an original device that preserves the mise-en-scène. The end effect is one of shadow theater, blending mythology, fantasy, and realism.