Anonymous

A series of anonymous nudes from 1842–1910 caught the attention of photographer Edie Bresler. During a year-long illness, she started creating alternate settings and time periods for the subjects, using digital image manipulation and embroidery. 

Photography Edie Bresler
Anonymous 1843 2017 8.25” x 10.5” pigment print with embroidery Unique 

Anonymous 1843 2017 8.25” x 10.5” pigment print with embroidery Unique 

During a year-long illness, I spent more time looking at photographs in books than making them. A series of anonymous nudes from various sources, all made between 1843-1910 entered my consciousness and kept me restless. It was not just the finality of the title, “Anonymous” but wonder about the relationship between photographer and subject. I found myself dreamily inventing backstories and imagining what each figure might have looked like walking down the street, or sitting at the edge of a pond. I was consumed with ceaseless questions that had no answers. 

Anonymous 1855 2018 (autumn) 12” x 18” pigment print with embroidery Unique 

Anonymous 1855 2018 (autumn) 12” x 18” pigment print with embroidery Unique 

Anonymous 1855 2019 (spring) 12” x 18” pigment print with embroidery Unique 

Anonymous 1855 2019 (spring) 12” x 18” pigment print with embroidery Unique 

Anonymous 1855 2019 (summer) 12” x 18” pigment print with embroidery Unique 

Anonymous 1855 2019 (summer) 12” x 18” pigment print with embroidery Unique 

Anonymous 1855 2019 (winter) 12” x 18” pigment print with embroidery Unique 

Anonymous 1855 2019 (winter) 12” x 18” pigment print with embroidery Unique 

Each sewn photograph is a unique echo of the original, akin to an imagined descendant. I begin by scanning the original book reproduction to digitally remove the figure from the studio. Then I call upon all my darkroom and digital skills to fabricate an alternate setting and time period. I hand coat papers with cyanotype or van dyke brown emulsion or walk with my camera to curate a particular environment. Once the print is crafted, I begin embroidering. Sewing at this scale is a fragile and intimate process. Each stitch and sequin is a gesture of renewal and chance for a new beginning. I am grateful to the collectors and institutions who had the foresight to preserve these original moments. 

“Sewing at this scale is a fragile and intimate process. Each stitch and sequin is a gesture of renewal and chance for a new beginning.”

Detail : Anonymous 1855 2019 (winter) 

Detail : Anonymous 1855 2019 (winter) 

Anonymous 1855 2021 9.5” x 12.5” Van Dyke Brown on cotton rag paper with embroidery Unique 

Anonymous 1855 2021 9.5” x 12.5” Van Dyke Brown on cotton rag paper with embroidery Unique 

Anonymous 1880 2019 16” x 20” Cyanotype on Japanese Kozo paper with embroidery Unique 

Anonymous 1880 2019 16” x 20” Cyanotype on Japanese Kozo paper with embroidery Unique 

Detail :Anonymous 1880 2019

Detail :Anonymous 1880 2019

Anonymous 1895 2020, version 1 12 x 18 cyanotype on cotton rag paper with embroidery, sequins, wax pastels Unique 

Anonymous 1895 2020, version 1 12 x 18 cyanotype on cotton rag paper with embroidery, sequins, wax pastels Unique 

Anonymous 1895 2021, version 2 12.5” x 15.5” double cyanotype with embroidery Unique 

Anonymous 1895 2021, version 2 12.5” x 15.5” double cyanotype with embroidery Unique 

Anonymous 1910 2019 18 x 24 van dyke print on cotton rag paper with embroidery Unique 

Anonymous 1910 2019 18 x 24 van dyke print on cotton rag paper with embroidery Unique 

Detail : Anonymous 1910 2019 

Detail : Anonymous 1910 2019 

Anonymous 1911 2021 8.5” x 11” cyanotype on cotton rag paper with raised embroidery, sequins Unique 

Anonymous 1911 2021 8.5” x 11” cyanotype on cotton rag paper with raised embroidery, sequins Unique 

Anonymous girl 1880 2019 12” x 18” pigment print with sewn sequins Unique 

Anonymous girl 1880 2019 12” x 18” pigment print with sewn sequins Unique 

Detail: Anonymous girl 1880 2019 

Detail: Anonymous girl 1880 2019 

Intimate sewing work table 

Intimate sewing work table 

About Edie

Edie Bresler is a longtime artist who investigates chance and randomness with photography. Her multi-faceted projects, embracing a gamut of processes and possibilities is a rarity in this era of branded creativity.

Chance and randomness offer unique ways to experience human fragility and resilience. She engages with found objects, enlists participation from random passersby and has travelled across the USA following the trail of winning lottery jackpots back to the mom and pop stores where the ticket was sold.

Bresler combines a broad range of photographic approaches with sewing, painting and installation. Her projects have been featured in many national and international magazines and have been exhibited in numerous galleries. Edie’s photographs are part of permanent collections at the Houston Museum of Fine Arts, the Danforth Museum of Art and Polaroid Corporation. She is director of the photography program at Simmons University. 

To see more Edie’s work visit her website follow her on Instagram


READ NEXT


Previous
Previous

The Whisperers

Next
Next

The Land of Error