Artist Laurie Simmons is famous for off-kilter photographs staging inanimate objects, like diminutive dolls and ventriloquist dummies, shot in domestic, often surreal settings. For her newly released book, The Love Doll, Simmons introduces a new, larger scale into her work by photographing a life-size human doll — an “excruciating” process, as she explains it, due to its weight. She first discovered her latest subject while on holiday in Japan with her daughters, Grace and Lena Dunham, and the book captures the interaction between the photographer and a doll for nearly five weeks. As time passes, the portraits grow increasingly intimate, much like a human connection between two strangers. We spoke with Simmons about that relationship, plus how she handled the sexual context of the doll, especially as a female artist. Read on, then click through for exclusive photos from her series.
Throughout your career, you've shot dolls, ventriloquist dummies, and other various inanimate objects in a humanistic light. Where did the idea of shooting these sex dolls originate from?
It wasn't something I was consciously looking for. I spent most of my summer in 2009 in Japan; first with my daughter Lena, and then I went back with Grace. [Grace and I] were in a bookstore and she found this little poster of a sex doll. I got really excited because I realized it was a life-size doll, but beautifully articulated. We tracked it down and went with a Japanese friend, who acted as an interpreter, and I had to have one to photograph. I wasn't looking for this doll, it kind of found me.
Via: Getting Comfortable with a Japanese Love Doll
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