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One of few female photographers working in the male-dominated world of fashion photography, Deborah Turbeville developed an incomparable body of work throughout her career as an artist. Turbeville began creating collages in the late 1970s, and over the ensuing four decades, she played with images and negatives—xeroxing, cutting, scraping and taping, pinning prints together, and annotating images. The result is a breathtaking collection of hauntingly ethereal artworks that have been manipulated, torn, and reconfigured into photographic collages through which Turbeville creates not only a narrative but an atmosphere.
One of few female photographers working in the male-dominated world of fashion photography, Deborah Turbeville developed an incomparable body of work throughout her career as an artist. Turbeville began creating collages in the late 1970s, and over the ensuing four decades, she played with images and negatives—xeroxing, cutting, scraping and taping, pinning prints together, and annotating images. The result is a breathtaking collection of hauntingly ethereal artworks that have been manipulated, torn, and reconfigured into photographic collages through which Turbeville creates not only a narrative but an atmosphere.
One of few female photographers working in the male-dominated world of fashion photography, Deborah Turbeville developed an incomparable body of work throughout her career as an artist. Turbeville began creating collages in the late 1970s, and over the ensuing four decades, she played with images and negatives—xeroxing, cutting, scraping and taping, pinning prints together, and annotating images. The result is a breathtaking collection of hauntingly ethereal artworks that have been manipulated, torn, and reconfigured into photographic collages through which Turbeville creates not only a narrative but an atmosphere.
One of few female photographers working in the male-dominated world of fashion photography, Deborah Turbeville developed an incomparable body of work throughout her career as an artist. Turbeville began creating collages in the late 1970s, and over the ensuing four decades, she played with images and negatives—xeroxing, cutting, scraping and taping, pinning prints together, and annotating images. The result is a breathtaking collection of hauntingly ethereal artworks that have been manipulated, torn, and reconfigured into photographic collages through which Turbeville creates not only a narrative but an atmosphere.
By the late 1990s, Turbeville employed this method to create Passport, a 120-page body of unique photo-collages. In its sequencing, the narrative of Passport is evocative of cinema, reading as both a fictional story and a personal statement relating to the artist’s life, her relationships, and her career in the fashion industry. As with Turbeville’s entire oeuvre, the imagery of Passport resonates with an eerie, timeless melancholy, and a patina that imbues it with the distance of a haunting memory.
Often reduced to the narrow label of fashion photographer, Turbeville is poised, with this reappraisal of her work, to take her rightful place within the pantheon of 20th century photographers.
By the late 1990s, Turbeville employed this method to create Passport, a 120-page body of unique photo-collages. In its sequencing, the narrative of Passport is evocative of cinema, reading as both a fictional story and a personal statement relating to the artist’s life, her relationships, and her career in the fashion industry. As with Turbeville’s entire oeuvre, the imagery of Passport resonates with an eerie, timeless melancholy, and a patina that imbues it with the distance of a haunting memory.
Often reduced to the narrow label of fashion photographer, Turbeville is poised, with this reappraisal of her work, to take her rightful place within the pantheon of 20th century photographers.
By the late 1990s, Turbeville employed this method to create Passport, a 120-page body of unique photo-collages. In its sequencing, the narrative of Passport is evocative of cinema, reading as both a fictional story and a personal statement relating to the artist’s life, her relationships, and her career in the fashion industry. As with Turbeville’s entire oeuvre, the imagery of Passport resonates with an eerie, timeless melancholy, and a patina that imbues it with the distance of a haunting memory.
Often reduced to the narrow label of fashion photographer, Turbeville is poised, with this reappraisal of her work, to take her rightful place within the pantheon of 20th century photographers.
By the late 1990s, Turbeville employed this method to create Passport, a 120-page body of unique photo-collages. In its sequencing, the narrative of Passport is evocative of cinema, reading as both a fictional story and a personal statement relating to the artist’s life, her relationships, and her career in the fashion industry. As with Turbeville’s entire oeuvre, the imagery of Passport resonates with an eerie, timeless melancholy, and a patina that imbues it with the distance of a haunting memory.
Often reduced to the narrow label of fashion photographer, Turbeville is poised, with this reappraisal of her work, to take her rightful place within the pantheon of 20th century photographers.
