One of the most remarkable aspects of Francesca Woodman’s astounding photographs that she produced between the ages of 13 to 22 is that it forms such a cohesive body of work. There is no juvenilia (in the sense of immature work that shows future potential), no false starts or dramatic u-turns. It appears that as soon as she took her first self-portrait at 13 that she had her own unique vision which she followed for the next nine years, never wavering and never deviating from once.
Growing up in an artistic household, both her parents are artists, the precocious Francesca had a thorough grasp of Dada and Surrealism by the age of 11. Francesca acknowledged the influence of Surrealism on her work, particularly Man Ray’s portraits of Meret Oppenheim and Andre Breton’s seminal Surrealist novel Nadja which was accompanied by photographs by J. A Boiffard. One of her early photographs features herself dressed up as Alice In Wonderland, the influence of which upon the Surrealists cannot be over-estimated. Also evident is the influence of the Gothic novel. Francesca favoured slow shutter speeds and long exposures which resulted in a blurry, ghostly images inhabiting the ominous, decrepit buildings where she set her photographs.
The above photograph was taken during her student year in Rome. A stunningly stage-managed yet otherworldly self-portrait, her posture hanging from the door lintel suggests both an ascending angel and a crucifixion. This is not the only question this magnificently enigmatic photograph raises; every object in the room seems to hold a coded significance.
Tragically Francesca, suffering from depression which was exacerbated by a broken relationship and the lack of recognition that her work had received, committed suicide by jumping from a New York loft window at the age of 22.