Laurie Simmons. I remember watching a documentary done by PBS’s Art 21 about Laurie Simmons and her work years ago. It stuck with me but I had never looked into it more deeply until I saw an article in the resurfacing 12/10/12 New Yorker written by Calvin Tomkins surveying her life and work (just looked up Calvin Tomkins and holy moly does this guy have an impressive list of names on his wikipedia page).
Simmons sees herself not as a photographer, but as an artist using a camera as a tool. She sets up situations and captures them in pictures that when complete can be both perceived and printed at any scale.
These posed images, in her earlier work, were a still moment amid a flurry of props and wall papers, photos, and furniture being intermingled. The work later turned to life sized dolls, an array of ventriloquist dummies, and inanimate objects placed on legs at both tiny and life sized scales.
Some of Simmons' more recent work centers around The Love Doll. She discovered this doll in Japan and instantly knew that it was perfect for her work. Laurie brushes aside the dolls original purpose and spends her time working with the doll trying to figure out how to display a day in the life. What would a day in the life of a human sized doll be like? Playing dress up seems appropriate, so why not bathing and running around outside?
The "Kigurumi, Dollers and How We See" series is the most recent work Simmons has put out there and, now that it has been created, seems like an obvious next step from "The Love Doll" series.
You may notice that although the faces in these photos seem more like a cartoon than the faces the Love Dolls possess, their bodies seem more life like. These are women called "Dollers," dressed up as characters.