Women's Work - Dana Hoey

Dana Hoey primarily photographs women, using her work to reveal the diverse ways in which females relate to the world around them. This world consists of men, other women, and oftentimes nature. In her work exists a tension between the assembled and the authentic. Though some of her photographs may appear to portray more candid moments, all of her scenes are completely constructed. Three of the photographs that will be discussed were exhibited at Friedrich Petzel Gallery in a show entitled Moon Bitches. These photographs include “Folk Singer”, “Rainbow Painter”, and “Re-birthing”.

Dana Hoey, Barbara Batchelor

The title of “Barbara Batchelor” in itself questions gender roles. The woman, presumably named Barbara, is dressed in attire that is reminiscent of menswear and dons a short, masculine haircut. Furthermore, the title uses the pun of “batchelor”, not “batchelorette”. The juxtaposition of large grey stones and bunches of flowers recalls the relationship between flower bouquets and headstones in a cemetery. Though the photograph mostly gives a peaceful feeling to the viewer due to the soft colors of the flower, the water, and the gentle lighting, there is an underlying morbidity to it.

Dana Hoey, Board Room

“Board Room” relays the relationship between men and women in the workplace. Clearly, the composition of this photograph is much bolder than that of “Barbara Batchelor”. The nude woman’s position in the foreground contrasts with the fact that the two figures in the background do not seem to be paying any attention to her. The nude figure’s hair resembles almost exactly the hair on the woman in the background. This draws a connection between the two, raising the question of whether or not they are intended to symbolize the same person. The positioning of the nude woman reclined on the boardroom table implies that a woman’s sexuality will always be a present issue in the workplace, regardless of attempts made by others to ignore or avoid it.

Dana Hoey, Folk Singer

The photograph “Folk Singer” describes a different relationship between woman, man, and nature. The girl reclined and in focus in the foreground carries an expression of blissfulness at being surrounded by nature and music. She is contented and, as shown by her closed eyes, trusts her surroundings. The man in the background is blurred and contributes to her mood by providing music. One may assume that the folk singer mentioned in the title is the same man who holds the guitar. This presents an interesting issue, as he is not in focus. The woman is clearly the figure who draws the viewer’s eye in, which Hoey uses to highlight her importance.

Dana Hoey, Rainbow Painter

“Rainbow Painter” continues to address the relationship between men and women. The two are slumped against a tree, illuminated and seemingly strung out. Hoey plays with the lighting in this photograph by adding in a third darkened figure in the lower left corner. In its darkened state, this figure becomes a part of the scenery as opposed to one of the subjects of the photo. Hoey raises questions of gender once again by photographing typically female characteristics of the male: his exposed chest and long hair.

Dana Hoey, Commander

Hoey moves us into the realm of female relationships in the photograph entitled “Commander”. She utilizes the composition of the women sitting in a circle to show a connection they share. Each woman’s expression seems fairly pleasant. They are marked by laughter. The position of hair and grass lends the photograph a feeling of motion. The resemblance between the blonde women’s hair and the grass in the foreground of the scene implies a connection between women and nature.

Dana Hoey, Re-birthing

“Re-birthing” continues in the line of female relationships, this time exploring mother and daughter relations. Hoey composes the women in a circle once again, revealing an unending connection between them. While the expression on the woman being re-born is fairly trance-like, the figures that have come alongside her reveal more. Each woman shows a unique emotion: one seems contented, another full of expectation, another strained, and still another racked with concern. None of them share very similar physical characteristics apart from the fact that they are female. Hoey reveals a sense of family that women may find in one another through the female ritual of giving birth.

Dana Hoey’s photographs almost all share the common theme of womanhood. Her work raises questions about the roles women play with those around them and in the environments that surround them. She does not provide easy answers either. One wonders if women are choosing these roles, or forced into them. The intentionality behind Dana Hoey’s compositions demonstrates the connections shared by each woman to her surroundings and other people.

- - Bayley Sprowl