Semiology is the science of decoding signs and sign-systems, applied to visual arts since the 1960s. The aim of the treatment of images as a kind of language (with its grammar - the rules - and usage. the particular contribution of the artist), which can be deconstructed into its component parts, is to 'break the flow' of communication by encouraging a questioning approach. So when 1970s and 1980s artists spoke of 'deconstruction', they did not mean 'tearing down' their studios.
Considering this definition, this photograph taken by Henri Cartier Bression in 1989 is semiotically explicit.
The picture is showing a black-bodied cat, lying with white legs outstretched on an armchair, and the shadow of a man standing in profile, probably bending over the cat. Only the shadow is apparent, the man is not. There is here an opposition between presence and absence.
The chair is the only object on the picture, the framing does not allow us to see the decor of the room. In the background we can only see the floor with the shadow of the armchair and maybe a window.
The man is not into the frame by choice, there is only the presence of the human shadow, which creates a game of field/off-field. The cat is situated in the centre of the picture, capturing first the eye of the viewer. Only the high angle view makes it possible to guide the viewers attention to the centre, the middle of the chair.
The image composition has two strong points: the cat and the shadow, two dark marks on a white armchair, underlining the contrast of the lights. The orientation of the shadows are distinctive features. Plus the armchair's curves and the cat's curves denote a state of relaxation. The man's head and the cat's head mark a certain harmony and balance between the two beings.
The fact that the image is in black and white creates a game of shadows which creates a space in-depth. According to the lighting it is possible to guess the sun orientation. The morning light (side lighting) marks an impression of sweetness, a softness which here again creates a feeling of relaxation.
The contrast between light and dark combined can be interpreted as a contrast of values with a space organisation represented by the opposition of the light and the dark.
There is another opposition in the picture between flat and relief. The armchair is in relief thanks to the flash of the camera but the chair cover is quite flat, as the armchair has two different zones of lighting.
The black parts of the cat absorb the light except for the legs, the only white parts of the cat. If Bresson chose to put this black cat on a white armchair it was in order to make the cat even more obvious.
As to conclude, we can see that both figures differ with the presence/absence game, with the body and shadow. Thus the cat and the man are easily distinguished.
The presence/absence game leaves the man of the body off-field. The picture has two bodies and one shadow. The presentation of the two shadows behind a body can be interpreted as two reflections or the cat's soul.
The body refers to reality while the shadow refers to unreality. The game of shadows gives an impression of reality and unreality. The visual semiotic enhances the game of relations between contrariety, opposition and similarity.
The meaning of this subtle game between real and imaginary could reflect the human life with
a proper balance of things, harmony and balance creating a complementarity.
Reading and Viewing
Reading and Viewing
Robert M Seiler : http://people.ucalgary.ca/~rseiler/semiolog.htm
Roland Barthes : http://www.marxists.org/reference/subject/philosophy/works/fr/barthes.htm
Semiotics/ semiology : http://classes.design.ucla.edu/Fall07/154A/resources/alt_semiotics.pdf
Elements of Semiology by Roland Barthes
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