“If portraiture were merely about recording how people look, then every photographer with a sharp lens would be a master,” writes Phillip Prodger in the book Face Time (Thames & Hudson, 2021). “Instead, it is among the most difficult undertakings in art … the portraitist is an excavator of truth, revealing qualities of which the sitter might not even be aware, or may wish to hide.” The following five artists, featured in recent editions of Aesthetica Magazine, echo this sentiment. Through symbolism, colour theory, paint strokes and bubbles, they use the genre to tell stories, uncover hidden meanings and encourage us to see differently.
Psychology, femininity, gender, technology and the body. These themes are at the heart of Han Yang’s practice. The London-based photographer, visual artist and creative director combines elements from abstraction, Chinese philosophy, fashion, posthumanism and surrealism to build pictures that are rich in emotional depth. Her close-up portraits use visual metaphors – like broken eggs, or butterfly wings – alongside writings from Buddhist text The Heart Sutra, to explore what it means to be vulnerable, yet resilient, amidst personal and global turmoil. Elsewhere, subjects stand next to withered trees or cherry blossoms in shallow pools; the concept is to examine the connections between people, plants and environments. All of this is executed through a distinct visual style. Han Yang consistently pushes the boundaries of genre, drawing the viewer in via symbolism, mystery and attention to detail.
The history of paint is filled with intriguing stories. In The Anatomy of Colour (Thames & Hudson), Patrick Baty recounts several such anecdotes, each tied together by desire, risk and a quest for perfection. During the 18th century, Prussian Blue was considered an “extraordinary colour” that cost twice as much as others. In Germany, Vermilion Red, of which “there was nothing quite like”, was produced by combining sulphur and mercury, and was also used as a sedative. It wasn’t until 1880 that William Morris stopped using poisonous Arsenic Green in his wallpapers. Today, similarly intoxicating jewel tones are the hallmark of Andrea Torres Balaguer’s (b. 1990) photographic portraits. The pictures could easily be mistaken for classical oil paintings. Garnet red and emerald green are backdrops for gold silk blouses and deep velvet gowns. A single, confident brush stroke cuts straight across each face, cloaking the subject in anonymity.
“There has always been a narrow definition of beauty in the fashion industry,” says Lagos-based photographer Morgan Otagburuagu (b. 1997). “This inspired me to explore unconventional, in-your-face portraiture; the kind you wouldn’t see in a traditional beauty story.” Otagburuagu is passionate about standing up against colourism, amplifying the beauty of dark skin and honouring stories of trailblazing Black women. His pictures are also deeply personal. After losing both parents in 2021, Otagburuagu began to incorporate flowers as symbols of grief, mourning, rebirth and celebration. Shown here is Being Black and Colourful II, in which orange petals cascade down a subject’s face and neck. “This is one of my first personal works. At the time, I was renting cameras for the day to shoot projects that were close to my heart. It was included in my first exhibition, and, with the proceeds, I bought my own camera.”
morganotagburuagu.com | @morganotagburuagu
The bubble is a potent metaphor. It has links to economic boom and bust, as well as isolation, loneliness and separation. But a bubble can also be a place of comfort and safety; an environment where we can enter a state of flow or hyperfocus. Djeneba Aduayom’s Capsulated series plays with these ideas, featuring people whose heads and bodies have become caught within translucent spheres. It’s part of the photographer’s ongoing investigations into human emotion, which combine elements from fine art – like abstraction and surrealism – with the crisp, bold aesthetics of fashion photography. She shows a consistent appreciation of colour and form, with splashes of ink, metallic paint and geometric shapes adding texture to each composition. Selected clients include brands like Apple, Dior and Levi’s, as well as major publications Elle, Hypebeast, The New York Times, TIME and Vanity Fair.
It will come as no surprise to readers that Polina Washington’s (b. 1991) background is in cinematography. Light and colour are crucial to her body of work. In the following pages, complete stories are communicated through a singular sunbeam, or door left ajar. Viewers may be reminded of Roger Deakins (Blade Runner 2049, Sicario), known for his command of blues and oranges, or the room-sized light and space installations of James Turrell. These pictures are delicate and carefully crafted, delivered with precision and attention to detail. Some characters shade their eyes from the glare of an artificial sun or open window, whilst others lie back, bathing in warm shafts of red, white and yellow. Washington was born in the small city of Veliky Novgorod, Russia, and later studied to be a Director of Photography (DoP). Now, she shares skills with others, teaching students to work with, rather than against, their fears.
Image Credits:
1. Andrea Torres Balaguer, Tango (2023).
2. Han Yang, Vulnerability, (2020). Image courtesy of the artist.
3. Han Yang, What does the plant tell us?, (2020). Image courtesy of the artist.
4. Andrea Torres Balaguer, Umbra (2019).
5. Andrea Torres Balaguer, Velvet (2017).
6. Morgan Otagburuagu, Black Bola (2023). Courtesy of the artist and Doyle Wham.
7. Morgan Otagburuagu, Blush (2023). Courtesy of the artist and Doyle Wham.
8. Djeneba Aduayom, Alienation from the series Capsulated (2018) Courtesy of Galerie Gomis, formerly known as Galerie Number 8.
9. Djeneba Aduayom, Yoeil from the series Capsulated (2018). Courtesy of Galerie Gomis formerly known as Galerie Number 8.
10. Polina Washington, from Silent Mode (2023).
11. Polina Washington, from Till The Light Separates Us (2023).
