Alex Prager

Prager, A 2009, Maggie from Week-End, Chromojet Print, 61cm x 80cm

The surrealist nature and feelings of the uncanny are what initially drew me to Alex Prager's work. By creating complex tableau images that draw reference from nostalgic hollywood film stills give visual clues or familiarity but are obliquely puzzling to leave the viewer to fill in the gaps. On further investigation, the idea of using familiarity of the Hollywood aesthetic as a filter for deeper meanings that surround contemporary lifestyle and the representation of women is a more complex idea to take inspiration from rather than just purely the aesthetic and structural importance of the work.
The ideas often come from Prager's personal experiences hence why the actors in her works are mostly women.

Her work is often inspired by 1950's cinema. I found a incredible resemblance in her film work 'Despair' to Hitchock's 'Vertigo'. Also the work below 'Eve' is a direct homage to Hitchcocks 1963 classic 'The Birds'

The aesthetic filmic look is also important to me to reference her Hitchcock VS Eggleston style.
She is very open about her references - Hitchcock, David Lynch, Joel Sternford, Phillip Lorca di Cocia, Douglas Sirk, Stan Douglas, B Grade Hollywood films & Melodrama's, Noir films.

Prager, A 2008, Eve from Valley of the dolls, Chromojet Print, 61cm x 80cm

Prager, A 2009, Deborah, Chromojet Print, 91.44 x 125.73 cm

Aesthetically, this image is creating the mood in the finer details - the length of ash on the cigarette, the gaze into the sky, the lean onto the car and the way the subjects hair pushes against the windscreen from the perspective of looking through the back window are all very important to creating the feeling of unease.
Prager describes the series Week-End as inspired by L.A where from the outside is a picture of perfection but underneath the surface of the glamour, it's really a place where dreams die quietly.

Prager, A 2009, Molly, Chromajet Print, 61 x 81.3 cm

The mix of optimism and beauty and possibly demise is what is interesting to me within this image. A young girl styled to look innocent in her blue dress and frilly sock, looks like she is on her daily walk with a coffee comes across an intriguing rope just outside of the frame.
An interesting use of 'whats left out of the frame' is almost as important if not more important to a narrative.

Prager, A 2008, The Big Valley, 'Annie, 2008', 48 x 63.5 inches, 121.9 x 161.3 cm

Again in this image, it's what could be outside the frame that is almost more interesting.
The expression, body language and hands are all a reference for intimidation or impending doom.

Prager, A 2008, The Big Valley, Susie and Friends, 90 x 147.5 cm

The melodramatic scene of Susie and her Friends is a good example of how using a group of people can create a sense of unease through facial expression and gaze. Here, I feel Alex is commenting on life in LA, you may have many people around you but they may not be your friends behind your back.

Prager, A 2010, Despair, Film Still #1, Chromogenic Print, 40.5 x 53.3 cm

This image and the one directly underneath are film stills from the short film 'Despair' by Alex Prager.
I have referenced both images and the film for it's excellent use of camera angle which is something I will return to again when planning perspective of my imagery.
The details of the emotion; the tears welling up in the eyes, sweat on the brow, even if melodramatic is useful to reference when working with subjects.

Prager, A 2010, Despair, Film Still #2, Chromogenic Print, 40.5 x 53.3 cm

Prager, A 2012, La Petite Mort, 6 chromogenic prints and digital video, plate list and film poster colophon contained in a portfolio

La Petite Mort another short film by Prager, I would like to reference the expression in the eyes in the top shot. Also the placement of the 6 images that all work together to tell the story without having to see the film.

Prager, A 2012, La Petite Mort, Prager, A 2012, La Petite Mort, Film Still

Prager, A 2012, La Petite Mort, Prager, A 2012, La Petite Mort, Film Still

The above and below film stills from La Petite Mort are referencing the interesting perspective used to emphasise the feeling of intimidation and power. The above image, the crowds body language, gaze and stance are all important to reference when working with subjects.

Prager, A 2012, La Petite Mort, Film Still

Prager, A 2012, Compulsion, 2 PM, INTERSTATE 110 AND EYE #6 (SINKHOLE) (DIPTYCH)

I love what Maggie Finch wrote about the Compulsion series "In this suite of diptychs, each set of images presents a scene inspired by sensationalised media reports of accidents and tragedies – a woman clinging to the front of a car teetering over a precipice; a twisted female body suspended from power lines – alongside a detail of a human eye. Each eye is shot at close range, often exaggerating bloodshot veins or clumped mascara, and is shown to be expressing a strong emotion. The works’ titles recall those of police reports, each referencing a time and geographical location. When paired together, the images force a play of gazes as we look at the scene and observe the observers"

Again I'm very interested in bringing imagery together to create narratives.

Prager, A 2012, Compulsion, 4:01 PM, SUN VALLEY. AND EYE #3 (HOUSE FIRE) (DIPTYCH), 2012