scale thus teetering balance amidst reality and unreality were heightened most emphatically when populace were included within the scenes due to the undeniably real live models (Bleicher, pp76-124).
Sandy Skoglund is commonly associated with the big format photographs containing her bright and amusingly unsetting, room-sized fitting that poke fun at the existing suburban reality. The two installations coupled with the photographs were at the Museum of Glass. Every installation is approximately fifteen feet in height, width and corresponding breath and entailed backdrop panel, floor and constructed figures (Bleicher, pp76-124). The blue backdrops were covered with numerous fluttery glass dragonflies and marshmallows. Moreover, the floor was made of the inlaid blue glass tiles within the crackles pattern approximately six inches beneath the distinct glass sheet.
The photographs of Skoglund are more effective and less stagy than the prevailing installations. Nevertheless, the photographs were very bright. Moreover, within the photographs three human models join the two sculpted figures in order to develop a tableau with the corresponding narrative implications by leaving the view imagination on the