Sarah Rocca is a self-portrait artist who explores the beauty she sees in the darkness of life. Where you might feel tension or discomfort, Rocca feels a sense of peace and ease when delving into subjects like fear, anxiety and death. This fascination with darkness and beauty can be seen throughout Rocca’s work as she aims to create pieces that ask the viewer to see themselves through her eyes. Rocca’s work portrays single subjects, often in uncomfortable positions, signifying the challenges we face mentally and physically throughout our daily lives. Rocca aims to explore subjects which society would rather sweep under the rug and what social media hides; female sexuality, anxiety, mental health, grief. These are topics which everyone will encounter throughout their lives yet for many they are topics you don’t speak of. Rocca uses her art as a way to tell her own story which allows the viewer to feel like they can relate in one way or another.
Self-taught or art school?
I can’t quite call myself self-taught but I didn’t go to art school either. I picked up my first camera back in the 80s. At that time it was film and my father gave me some basic pointers on how to use it. I didn’t become serious about photography until I was in my 30s and decided that it was time to understand what all the buttons and dials did, to take control of my photography. So I enrolled in classes at a local art gallery and from there I became hooked. From beginner courses to editing and creative photography, I don’t think I’ll ever stop learning. Lighting, colour grading, shooting, it all consumes me like a child eager to learn that one new thing.
If you could own one work of art what would it be?
This truly is the toughest question! It’s funny because I’m a photographer you might think the obvious choices would be photographic works of art or even paintings which are such amazing representations of shadows and light but no. The 2 works that came to my mind first were Little Dancer Aged Fourteen by Edgar Degas and La Pieta by Michelangelo, both of which are sculptures. La Pieta is probably the first piece of art I fell in love with. The way something as hard as stone can be made into such an emotional work that looks as if it would be soft to the touch fascinates me. His ability to see the human body inside a block of stone and let it out has to be the most incredible notion I’ve ever heard of. But I think Little Dancer Aged Fourteen is truly my favourite. It’s not pretty, yet it contains its own beauty and that has always been a concept that resonated with me and what I try to portray in my work.
How would you describe your style?
As a beautiful darkness and art that makes you simultaneously want to look away and one that draws you in. I’ve always felt pulled toward art that isn’t what you’d call pretty. The works of Caravaggio will catch my attention easier than a Monet, not because of the style but the use of heavy shadows and dark palettes have always been something I adored. As a photographic artist, I wanted to emulate these types of works so I started out doing strange and unusual subject matters and now have evolved into using textures, contrast and evocative messaging to bring my dark style to life. That isn’t to say my work isn’t bold and full of colour but I highlight single subjects often in uncomfortable or vulnerable positions as a way to make the viewer feel sorry for my character or to put themselves into the scene. Making art that can pull your viewer along for the ride is something I strive for daily. It’s not enough for me to show you beauty or death, I want you to begin to see that there is beauty in death and feel that struggle within yourself, that conflict where you can appreciate the art while simultaneously being uncomfortable around it.
Can you tell us about your artistic process?
As a self-portrait artist, I mainly work alone, this isn’t because I refuse to have assistants but rather because I am the type of person that will see an idea inside of my head and have to create it. It’s why I became a self-portrait artist in the first place, I was too impatient to get a model, I just wanted to create my work as quickly as possible. I don’t really find mind mapping exercises or brainstorming to be helpful. I will see something and a picture will form. I’ll see the pose and camera angle in my head and know that is what I’ll create. I don’t usually see the final colour of the image before I shoot either, I’ll know my emotion and my mood, that is, what I may want to convey. From there I decide what physical elements or props may need to be involved and I shoot. This piece normally takes far less time than setups do but I always ensure I shoot multiple poses or concepts and often will either choose new ideas that came while I was shooting or composite multiple images together for my final piece. The real work begins in post-production. I may not like one of my hands in my final image and use another hand from a discarded image. I’ve learned compositing helps with the need for perfectionism and is a great tool. I’ll add texture or enhance lighting and then begin to play with colour. Changing colours, using colour as a message, all of this helps tell my story and it’s my favourite part of creating.
Is narrative important within your work?
Extremely. To me, each image has a story to tell and my work is largely representative of my own feelings as I work through life. I use my art as a means to explore what is inside of me and convey to my viewer thoughts on everyday emotions and happenings. I’ve become very open and honest as of late about subjects people don’t like to speak about and there’s purpose behind that. I’ve never enjoyed conforming to tradition for the sake of tradition. For example, in my country, mental health issues can be looked down upon and people feel shame for admitting they struggle. I aim to shed light on the fact that we all can struggle despite who you are, where you come from or how put together you may seem. And people want to read those words, they want to feel like they are a part of something and not so alone. So narrative is as important as the art itself.
Who are your favourite artists and why?
I adore many classical artists such as Renoir, Carravagio, Michelangelo and Degas for so many different reasons but mostly how their art makes me feel. And each is such a different answer. To see a massive work of art by Renoir hung before you on the wall with the laughter on the faces of his subjects makes me smile and fills me with joy. Converse to this is the way Carravagio painted scenes of gore and death in such a plain and beautiful way that they don’t haunt, yet move me, are just the beginning of why I love such an array of artists. Then there are my photographic loves such as Imogen Cunningham and Edward Weston who showed the female form is art in a photographic world, not just a painted one. Their works paved the way for people like me to shoot freely and without care.
What or who inspires your art?
My biggest inspiration is that which I see around me, and oftentimes it’s nature. Gazing out my window on a cold Winter day seeing shadows from trees stretching across my snow-covered lawn will hit me like a ton of bricks. I’ll see clearly the final image, in my head, and know that I have to work fast if I’m to capture everything just as it is. I’m very visual so when I’m driving and see a meadow full of wildflowers I’ll get a picture of what I can create there. Inspiration is all around me so I’m learning to open my eyes to the possibility of creating in the places I see.
Where’s your studio and what’s it like?
I am fortunate that I have a studio inside of my home which as a self-portrait artist is quite convenient. My home has vaulted ceilings so I can create very imaginative works from all angles and I use every bit of my home as my backdrop. There are times I will shoot in a bathtub so I have become quite amenable to shooting in small spaces. I currently use Elinchrom lighting which allows me to have better control over direction and contrast and when not utilizing the inside spaces I create in my backyard, which my new series, From Above, has all been photographed. Because my process often happens quickly, from the time of concept to creation, having space literally all around me is invaluable.
Do you have any studio rituals?
It’s the one area of my house that no one is allowed into. My space is used only for creating so I keep it clean and holy, so to speak. When I create indoors I go into this zone, this space inside of myself where time just stands still. I will put on music that suits the tone of the image and perhaps it’s due to my theatre background but it helps me get into my character. That’s most important for me while I work, that I have a deep sense of who I need to be in that moment. Am I strong and confident or coy and shy? Music gets me into the mindset I need to be in and that is imperative for me to get the most out of my work. When you have a model you can help guide them into that flow and find the energy they need but when it’s yourself you have to find that way to forget who you are in the moment and be who the camera needs you to be.
What are you working on currently?
My most recent passion has been a unique look at life from a faraway view. In the midst of the lockdown in 2020, I was quite literally by myself for months in my home on a wooded street. I needed something to occupy my time so I decided to fly my drone above my backyard and use the yard as a canvas for self-portraiture. What I learned is this would be a work in self-discovery as well. The series, From Above, was born out of play and has grown into some of my best work so I can’t be so upset by the lockdown because without it I may not have created such a distinctive set of work. Most people fly their drones for video and exploration and for me I can barely call it flying, I hover, but what I create are emotive views on isolation, depression, acceptance and grief. Now when someone asks me what camera I use my answer is both Canon and Hasselblad because my drone camera is just as important to me as my DSLR.
Where can we buy your art?
Right now I sell small prints through my website, www.sarahjphotography.com. For anything larger than 10×10 people can contact me at thesarahjphotography@gmail.com and I will work with my printer for larger gallery prints.
