Sophie Calle is a French photographer considered as acontroversial artist because of her non-conventional approach to photography. Born in Paris, France in 1953, Sophie Calle traveled and settled in California where she developed the passion for photography (Calle and Baudrillard 8). Calle returned to Paris in 1979 and enrolled in a photography class but only attended one lesson. She did not find much to learn from that class (Jeffries 1). Calle’s work of art does not challenge the limits of documentary but also photographic art. Her non-conventional approach mainly involves photographing people in their personal spaces without their knowledge and consent by using deception to access private spaces. Her tendency to reveal intimate details of her life and that of her friends and subjects has earned her a label of an exhibitionist and a voyeur by supporters and critics.
Another critical aspect of Calle’s photography is the lack of sophistication in her works. Indeed, she does not take images that stand alone but uses the photographs as one of the media in her art. Many of the photos taken by Calle are simple images accompanied by printed or handwritten text. As a result of her focus on exploring the artistic ideas and human relationships, she is often regarded as a conceptual artist. This type of art focuses on the ideas and concepts as opposed to the creative technique and the aesthetical values. Calle views her life as a work of art that allows for the explorations of human identity, vulnerability, intimacy and the freedom to challenge the conventionality of accepted limits of both private and public spaces (Krauss 59; Jeffries 1).
The inspiration for Calle’s first significant work, The Sleepers, came along after her friend had asked if she could sleep on Calle’s bed. She could then ask other people to spend time in her bed as she photographed them and asked questions (Jeffries 2). Calle then used the images and the accompanying text to compile her first work. However, in my opinion, her most controversial and iconic work has to be The Hotels created in 1983. The work is a compilation of images she took after gaining access to hotel rooms without the consent of the occupants. She was first employed as a housekeeper which enabled her to access the rooms. With access to the residences obtained, she scrutinized and photographed the possessions of the strangers without their consent or knowledge. She examined the suitcases, trash bins, and bedside tables, read the occupants’ diaries, letters and any other document she could find (Jeffries 2). The information obtained from such controversial actions enabled her to create 12 individual works. From each work are the photos of the possessions found in each of the rooms accompanied with text discussing the probable occupant of the room (Calle and Baudrillard 45). The collection could, as is expected, end up being controversial because of her invasion of the guests’ privacy.
Works Cited
Calle, Sophie, and Jean Baudrillard. Suite Vénitienne: Please follow me. Bay Press, 1988.
Jeffries, Stuart. "Sophie Calle: stalker, stripper, sleeper, spy." The Guardian 23 (2009): 1-4.
Krauss, Rosalind. "Two moments from the post-medium condition." October (2006): 55-62.
