Cooking the Goose, 2017
Domestic Perfectionism Overwhelms Faceless Women in a Satirical Series by Photographer Patty Carroll
by Grace Ebert
April 29, 2020
Patty Carroll’s homebound snapshots are the epitome of domestic pressure: A high-heeled working woman tries to cook and chat on the phone but ends up amid scattered kitchen supplies with her head stuck in the oven. Mops and rags knock another figure down into a sea of neon sponges and cleaning sprays. Two seated women are obscured by constricting drapes and an inordinate amount of fresh produce.
The photographer’s four-part Anonymous Women series is comprised of highly stylized scenes featuring a faceless mannequin attempting—and failing to complete—a range of duties. They’re humorous commentary on the pressure modern women continually face to achieve domestic perfection while excelling professionally and caring for others.
The interior of the home is comforting, but can also camouflage individual identity, especially when the idealized decor becomes an obsession, or indication of position or status…. The “constructed” images in the ongoing series are of home turned inside out, where things are topsy-turvy and scale is variable. Decoration is out of control, and the woman of the house is lost in her own madness.
Carroll began the satirical project after moving to Britain and finding her professional accomplishments disregarded. “Being known as Mrs. Jones rather than the independent, teacher, photographer Patty Carroll sent me into a small identity crisis. I made photographs of vulnerable, stark heads hiding behind various domestic objects as my initial response to this predicament,” she said in a recent interview with Aint-Bad.
Veggy, 2017
One installment of the series, “Domestic Demise,” touches on contemporary issues of consumption, as well, and “is when the woman becomes a victim of her own obsessions and activities. She is no longer in control and life is a series of mishaps and mayhem,” the photographer said. Having too many books, too many items lining the pantry shelves, and too many alcoholic drinks overwhelm the women.
Carroll previously employed models for her drapery series, but as her scenarios got more complex and took longer to shoot, she switched to mannequins. She constructs each chaotic scene within an 8 x 8 frame. Her influences include “colorful vintage movies, traditional still-life paintings, decorating magazines, my suburban upbringing, the game of clue, and even Victorian writing,” she wrote in a statement.
Booky, 2017
Since being confined to her home due to the ongoing coronavirus epidemic and because of a recent appendectomy, Carroll says the mundane and oppressive requirements of domestic life are inescapable. “It is hard to ponder larger issues when we are confined to our homes and are concerned with the everyday, seemingly meaningless issues of cooking, cleaning, eating, sleeping, and what is on Netflix for entertainment,” she said. “Nevertheless, all of my photographs are about those simple, ordinary, yet overwhelming tasks that we carry out every day.”
For more of Carroll’s identity-questioning work, pick up her recently released monograph that’s available from Aint-Bad and or a photograph from Catherine Couturier Gallery. Watch videos of the draped women as they attempt their domestic duties on Vimeo, and follow Carroll’s upcoming projects on Instagram. (via This Isn’t Happiness)
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Cooking the Goose, 2017
Domestic Perfectionism Overwhelms Faceless Women in a Satirical Series by Photographer Patty Carroll
by Grace Ebert
April 29, 2020
Patty Carroll’s homebound snapshots are the epitome of domestic pressure: A high-heeled working woman tries to cook and chat on the phone but ends up amid scattered kitchen supplies with her head stuck in the oven. Mops and rags knock another figure down into a sea of neon sponges and cleaning sprays. Two seated women are obscured by constricting drapes and an inordinate amount of fresh produce.
The photographer’s four-part Anonymous Women series is comprised of highly stylized scenes featuring a faceless mannequin attempting—and failing to complete—a range of duties. They’re humorous commentary on the pressure modern women continually face to achieve domestic perfection while excelling professionally and caring for others.
The interior of the home is comforting, but can also camouflage individual identity, especially when the idealized decor becomes an obsession, or indication of position or status…. The “constructed” images in the ongoing series are of home turned inside out, where things are topsy-turvy and scale is variable. Decoration is out of control, and the woman of the house is lost in her own madness.
Carroll began the satirical project after moving to Britain and finding her professional accomplishments disregarded. “Being known as Mrs. Jones rather than the independent, teacher, photographer Patty Carroll sent me into a small identity crisis. I made photographs of vulnerable, stark heads hiding behind various domestic objects as my initial response to this predicament,” she said in a recent interview with Aint-Bad.
Veggy, 2017
One installment of the series, “Domestic Demise,” touches on contemporary issues of consumption, as well, and “is when the woman becomes a victim of her own obsessions and activities. She is no longer in control and life is a series of mishaps and mayhem,” the photographer said. Having too many books, too many items lining the pantry shelves, and too many alcoholic drinks overwhelm the women.
Carroll previously employed models for her drapery series, but as her scenarios got more complex and took longer to shoot, she switched to mannequins. She constructs each chaotic scene within an 8 x 8 frame. Her influences include “colorful vintage movies, traditional still-life paintings, decorating magazines, my suburban upbringing, the game of clue, and even Victorian writing,” she wrote in a statement.
Booky, 2017
Since being confined to her home due to the ongoing coronavirus epidemic and because of a recent appendectomy, Carroll says the mundane and oppressive requirements of domestic life are inescapable. “It is hard to ponder larger issues when we are confined to our homes and are concerned with the everyday, seemingly meaningless issues of cooking, cleaning, eating, sleeping, and what is on Netflix for entertainment,” she said. “Nevertheless, all of my photographs are about those simple, ordinary, yet overwhelming tasks that we carry out every day.”
For more of Carroll’s identity-questioning work, pick up her recently released monograph that’s available from Aint-Bad and or a photograph from Catherine Couturier Gallery. Watch videos of the draped women as they attempt their domestic duties on Vimeo, and follow Carroll’s upcoming projects on Instagram. (via This Isn’t Happiness)
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