About

Piece 2

Throughout the late 20th century, a counter-cultural aesthetic known as "heroin chic" became an adolescent beauty ideal (Tretiakovia). The goal was to emulate the ‘look’ of someone on heroin through lifestyle changes. The associated imagery was captured by photographers such as Corinne Day and Davide Sorrenti (Lyapin). The emotion and thoughtfulness within heroin chic imagery reveal a plethora of hidden nuances and values. (Tretiakovia). The photographers of this aesthetic utilized documentary-style imagery to genuinely capture the often destructive lives of these individuals. Heroin chic is a widely controversial aesthetic, even publicly condemned by former American President Bill Clinton (Hickman, 135), yet it remains a pillar in the study of fashion imagery.
The creative components of my work reflect the intricacies within the heroin chic aesthetic. By printing out images, I can manipulate the paper using methods such as tearing, cutting, taping, and slicing to create an appropriated work of heroin chic imagery. I print the same picture multiple times, but in different sizes and filters, which I then layer over each other. Monochromatic images show details more clearly, so throughout my work, I employ the use of monochromatic images to highlight certain features. Additionally, I utilize images in different sizes to emphasize or deemphasize certain features. By using materials as simple and disposable as printer paper, I can purposefully destroy the images without regret as I modify and recontextualize them. Some of these works are somewhat mended, while others remain in a state of destruction. Every aspect of destruction and assemblage I use is meant to reflect a nuance or characteristic of heroin chic.

Piece 1: tara

I have taken 3 photographs by Corinne Day and appropriated them to create a new piece (see Piece 1). Each photograph depicts the same model, Tara St Hill, but in 3 different mental states – the trinity of heroin chic. I highlighted the model's expressions in each image and manipulated the body to reflect the feeling in each pose. The images represent a desire for raw and realistic photography, which rejects the overly fabricated imagery of the 1980s (Tretiakovia). The first image in the top left depicts the model in emotional distress, yet she is unashamedly allowing her emotions to be gazed upon. Her hand is covering her face to represent her inner turmoil. The additional monochromatic hand is moving towards her face to depict a hand in motion, intending to hit the side of her face. The slapping of her own face represents the self-harm practices of addiction.
The second photograph on the right-hand side is a lively depiction of the heroin chic aesthetic. I have added a monochromatic cutout of her underwear to highlight the overt sexualization in this photograph. The model is likely under the influence, as photographer Corinne Day regularly alludes to (Day, Autobiography). The monochromatic image of her face accentuates the unsettling hints within her expression. Despite the smile on the face of the model and her eccentric ensemble, there are sinful undertones all throughout the composition which are accentuated by the inclusion of monocromatic elements.

The final photo in the bottom left represents the third state of heroin chic. The model is on the toilet, smoking something and looking up at the camera with her eyelids slightly drooping. The model’s arms are enlarged and pasted on in the collage so that the toilet paper and cigarette become more prominent within the composition. These details emphasize the dirty and careless qualities often associated with the heroin chic aesthetic. Imagery within this trend frequently presents bodies that appear fragile, exhausted, or physically diminished, producing a melancholic tone. In many cases, the visual language of the photographs draws on cultural associations with addiction, illness, and vulnerability.

I selected a self-portrait of heroin chic photographer, Davide Sorrenti to manipulate (see Piece 2). I have chosen this image because it clearly depicts the physical effects of illness and addiction. Sorrenti was not only active in drug culture, but had a condition called Thalassemia, an inherited blood disorder (Lyapin). This illness was the baseline of his suffering.
Sorrenti’s emaciation caused his ribs and collarbone to protrude through his skin. One of the long-term effects of addiction is severe weight loss, which is why many of the models within this aesthetic are severely emaciated. Sorrenti, however, was not originally emaciated due to his addiction, but because of his condition. To portray his illness, I cut out a triangle shape in his chest and pasted it back on. This botched attempt at reassemblage illustrates the fatality of his condition. For his face, I cut the monochromatic version in half with the coloured image peeking through. This was an attempt to draw attention to the youth and humanity of these figures. The glamorization of addiction has had many negative consequences, but these are depictions of adolecents who have undoubtedly struggled.
Sorrenti is the only man, and person of colour (POC) I chose to include in this collection. This is mainly due to the oversaturation of women and the lack of POC in heroin chic imagery. The decision to include Sorrenti is because of his impact on heroin chic photography. He was one of the central figures, and his impact is vital to the construction of this trend.

Piece 2: sorrenti body