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Amber O’Shea 

BA [Hons] Photography

Amber O'Shea is an Irish-born artist and photographer based in Dublin. Her work addresses the intersection between design, sculpture, and moving image and aims to blur the boundaries between fashion and modern photography in her art. Her use of incorporating multiple forms conveys a surrealist sensibility, offering an unusual view of photography. The techniques and tools with each project often change but the perspective, drama and ardency of the image remain consistent. O'Shea's broad perspective on photography and image-making sees beauty in the spaces between and beyond formal distinctions.

This is the first Agamograph photo-sculpture from the series. Also known as a Lenticular, an Agamograph is an art form that uses optical illusion to create that changes when you look at it from different angles. These images represent challenging our own inner narcissism and capture the feeling of anxiety due to the overconsumption of media online. By conveying this idea through multiple gestures of expressions.
Taken from the first Agamograph photo sculpture in this series. Nowadays we can't really tell what is a real image and what is fake. With this work, I'm capturing that anxious state of mind when consuming all of these advertisements, posts and photographs online. With the rise in social media over 8.95 million photos are posted on Instagram each day. Over 40 billion photos and videos have been shared on the Instagram platform since its conception.
Here is a 3D animated version of the first Agamograph photo sculpture in the series, you can observe the images move before your eyes as they begin to distort as the angle changes.
This photo represents how our image can be distorted and that the viewer can't regulate their perspective of images online. This specific photo sculpture is made to be viewed from a distance to make sense, or not. Based on the idea of viewing ourselves from a "distorted" mirror.
This is a 3D animation of the second Agamograph photo sculpture in this series.
These photos were taken on a platform that functioned similarly to a zoom call but specialized for photoshoots. Then from those images, I captured the photographs on my laptop using my digital camera. It's a series of photographing screens and by repeating this pattern I wanted to see how far I could take each image until they became unrecognisable.
Self Portrait, Polaroid, 2021.
This set is a continuation of creating distortion. These photos are supposed to create an uneasy feeling and leave the viewer questioning what they are looking at.
Vertigo of Mouths.
Grid of Mouths.
Self Portrait, Continuous loop of Self-Portraits, glitch.
Project Overview. Opening the conversation about how mirrors have been replaced by selfie culture. The mirror is a metaphor; the selfie camera is the mirror; using social media is the mirror. When looking at this art, I want the viewer to feel unsettled. Moving image and perspective control is central to this body of art. The viewer has complete control over what they see, yet I believe this artwork will make the viewer feel as if they are being watched. If the spectator were on the other side of the dimension, this is an interpretation of what they would see.
About Anamorphosis

In these current times amongst selfie culture we live in a heavily digital saturated world, and not all is how it seems. When we look at pictures online, we can't regulate our perspective. In this project, the spectator can choose what they want to see at each angle. This work focuses on how we have been consumed by our own image and how selfie culture has replaced mirrors by examining how psychology affects the photographic image and exposing our own personal narcissism. The final work will be projected as large-scale lenticular billboard photographs, allowing the artist to produce a trickery of images in the form of Agamographs. An Agamograph is a series of images that change at different angles.


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Thesis Description: Picturing Intimacy: How the role of Intimacy is represented in the Photographic Image

Picturing Intimacy: is a discourse analysis of how intimacy is conveyed in contemporary photography—starting with understanding the meaning of intimacy and how it permeates within the photographic image. By observing human connection studies, intimacy plays a huge role within the act and practice of photography. This existence enables the viewer to see how intimacy can play a role in shaping the image's narrative and construction. Intimacy has many more meanings than one; it becomes extensive and vast with a plethora of interpretations by exploring photographic works where intimacy is visible at the core of the works themselves. By starting to take a look at The Ballad of Sexual Dependency by Nan Goldin, Hesitating Beauty by Joshua Lutz, Leaving and Waving by Deanna Dikeman, and finally, I Love You More by Emily Wiethorn. Each photographer utilises intimacy in various ways but shares similar values that explore a specific part of their intimate relationships. Within each work, the artist focuses on the most personal elements of their relationships present in their surroundings and connections with the people within the frames. With these ideas, evidence exists that the role of intimacy can act together with photography as a tool of representation.


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Photography
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