Laurie Simmons is a New York based artist. She has an international reputation as one of the leading artists to emerge from the new york picture generation during the 1970s and 80s. In 1975 Laurie began photographing her dolls in black and white scenarios. The results were intricate alter-realities and people were amazed by the realism. As the viewer looks at the photos, they almost mistake the photos for real spaces. Simmon's was struck by the camera's ability to lie.
In the series Early Black and White Interiors (1978-79), she uses doll furniture, props, and subjects to convey a psuedo reality. She uses dated wallpaper and domestic objects that came from a previous generation. Simmon's lived as a self-identified hippie and was a part of a movement to deconstruct and question the domestic and social formalism that symbolized 1950's suburban America. It is noticable through this series of photographs, the reference to memory and youth, specifically the childhood associated with 1950s popular culture, which is that of her own. Her work was unique from other artist of the same movement because of her manipulation of the miniature objects that gave a dream like qulaity that isolated the images from the documentary aesthetic other artists were tryiing to achieve.
The Love Doll: Days 1-30 is a more recent series of work (2009-11). She uses a customized love doll from Japan. It is designed as a surrogate sex partner and arrived to Simmons in a crate accompanied by female genitalia and an angagement ring. Simmons documented her life with the human scaled girl in chronological order by series of actions. The photos show the relationship between the doll and Simmons. The relationship starts shy and formal, and with time their is an increase in familiartity and comfort level. Simmon's created a lifesize dollhouse for the doll, and explores adult fetishes and fantasies as well as a sense of desire and regret.
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