The FaceTime Series I,  is a conceptual body of 6 works created in 2017 which looks at re-configuring the female face using iPhoneography, Photo-media and Found Image. The FaceTime – Series I, investigates ‘a space between’ where erasure and the representation the female portrait, the female fashion icon and the female selfie is portrayed through a historical reference to Laura Mulvey’s, ‘The Gaze’ in Mulvey’s seminal paper. For further research and viewing of this recent body of work go to the contact page.

Bio-Portraits as Photo-media, Performative and Material Futures

Bio-Portrait questions historical photographic portraiture subverting traditional notions of gender, sexuality and identity to investigate the landscape of the face. Martin explores iPhoneography portraiture or self-representation and the intersections of where art, science and technology  transition, as a biological tool in a landscape of new (photo-media) possibilities.

With a fascination to where science, nature and body mapping merge, Martin performs the ‘surgical-like operation or displacement and re-placement of the face onto the surface with integrated photo and computer manipulation.

This new found materiality and Martin’s long interest in surrealism created the necessary tension in forming this new genre of work as she continued breaking down the photographic portrait of face, skin and bio-material. The Bio-Portrait series created in 2019 ( and ongoing) is the 2nd^rd body of work developed after Martin’s ‘disruption’ series titled ‘FaceTime Series’ related to Laura’s Mulvey’s, seminal paper – ‘the gaze’ and an analysis of  ‘How the Female Gaze Is Changing Photographs of Women’2. investigating where iPhoneography as self-representation transitions, dissects and extends as a biological tool in a landscape of new photo-media possibilities.