Brooke
Shaden’s photographic portfolio offers an exploration of femininity and
simplicity. Through a dichotomy of
emotions, color, movement, and content, she gently sweeps her audience along
on a journey of secrets and self-realization.
Most of her work features a nude female figure with radiant porcelain
skin, loosely covered by a simple flowing fabric, enmeshed in various natural
terrains. There is a quiet sadness and
struggle of emotion evident in her work.
 |
| "Rebirth" |
Shaden’s
use of rich yet muted earth tones give the images a hazy
and dreamlike effect; acting to distance the viewer from the woman, allowing
one to witness the glorious moment of emotion tempered through the mystical setting
of a dream.
 |
| "The Struggle Ballet" |
While these images offer a more
serene stage for the display of female beauty and haunting emotion, Shaden’s
underwater images allow a more carnal scene of female beauty. The women in the photos writhe and fight
against the downward and encompassing quality of the liquid in which they
appear to be trapped – only later to be seen having succumbed, and peacefully
given in to the pull and weightlessness of their watery grave.
 |
| "Bathe" |
The
above image is a testament to Brooke Shaden’s ability to create an overwhelming
emotion in an image which actively works to diminish the connection between the
woman and her audience. The audience is
forced to stare helplessly as the masked woman utters a blood-curdling cry and
gasps for breath underneath the water-soaked cloth. Despite the tension in her outstretched hands
and gaping mouth, the scene is calm; the water smooth and tranquil. Despite her cries, and her outwardly evident
inner struggle – she is inaudible and has no effect on the world around
her. She is trapped in her own solitude,
unable to even see the world which refuses to acknowledge her.
 |
| "Uneven Staircase" |
This
disconnect between the woman figure and her world is a common theme throughout
Brooke Shaden’s work. In most of her
photographs, the women are anonymous figures, their faces rarely captured on
film. In the few instances they do
appear, they are partially blocked by knotted tendrils of hair flowing in the
wind, a hand with palm extended to push the viewer away, or a plain white mask. It is difficult to pinpoint whether this
disconnect is intentional and the women are actively refusing the audience the
ability to understand, or if the women act unaware of their audience, living,
yearning, exalting in their own private world.
Either way, this disconnect does not force the audience away, but
instead draws one in – demanding attention, and a recognition of the beauty and
power of these women as they appear tranquilly nestled amongst the natural landscape
of mother earth, battling the agonizing forces of society and their own mind in
quiet desperation, or pleasantly being swept away into a pleasant dream.
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| "The World Above" |
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| "Half the Hours Lost These Days" |
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| "The Chainless Links" |
The
above statements are solely the opinions of the author – SadieFaye
To view
Brooke Shaden’s website please visit…
To
visit her facebook…
To
follow her on Twitter…
@BrookeShaden
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