|GUINEVERE AND KNITTED CARS|
SUFFOLK, ENGLAND, 2006
I remember when I first saw Tim Walker's work at college I couldn't believe what I was seeing. I ran straight out and brought Vogue just to look at the photos again. Years on I still admire his work, however I don't find myself looking at it that much. When I decided I wanted to include knitting in my photography I was brought back to his images and this is one that I could use in my research.
The image works as a whole, without the title you still know it is rural England. The cloudy sky, 50mph sign, location and telegraph pole give it context, not to mention the obvious car props. It does have a very country feel to it, the use of the white yarn is simplistic but also shows off the complex cable patterns. If a darker colour had been used you would not be able to see the detail. The model's stare into the camera makes the moment believable, as if you were the owner of the other car or a passer by. As she is holding the steering wheel I think it was her that caused the accident, maybe the other driver saw how beautiful she was and couldn't keep their eyes on the road? The image has a narrative, the quintessential model stranded after the accident raising many questions. The styling is consistent, the cable on her jumper and on the cars, also the skirt's lines work with the telephone wires. Everything is very contemporary despite having a vintage aesthetic. The cars are brilliantly knitted and you truly believe the world this is taken from is covered in knitwear. I think the type of knitting used here is something I can aspire too with my shoot, however I do need to consider the time frame I have if I am to create all the props myself. With my project I should be considering the whole environment and how the final images communicate a message to the viewer like this image does.