Luna Lovewitch is a goth girl from Romania. She came to Amsterdam to study psychology and has an unhealthy interest in the occult. She is very lonely but she gets involved  with a dominatrix and falls in love with her imaginary friend. Or is this a real ghost?

Luna Lovewitch is a character from ‘The Identity Machinery’ – a project that at this moment is mostly a soap on Instagram. It is a collaboration with my partner Laura A Dima, who plays the characters. I do the photography and together we doe the styling, making up the stories and everything.

The Identity Machinery started because of out interest in fetishism and psychology, or perhaps mostly in group behaviour. We noticed that fetishes and women’s attire often are derivates from a functional starting position. Nun’s or Nurse’s clothes indicated a function and a way of life – but type those terms in a search engine and you will see something else compared to how it used to look. Also, the derivates are quite different than the originals: if you look at it with an artistic eye, the ‘French Maid’ costume you’ll see now when you search is a sublime abstraction of the original: you’ll get only what you need to recognise it as such and it shows how conceptual the human mind is. Besides that the costumes are of course very sexualised and minimised and to us it seemed we missed a bit of a chance here. 

We have a preference of the very beginning of the sexualisation of uniforms and the like. In ’40’s, ’50’s and ’60’s films for instance, you will see pretty people in pretty uniforms, not objectified yet, usually having a real character but somehow very attractive.  We take this confusing and somewhat voyeuristic look at attire as a starting position to do statements about the objectification of the self on Instagram: there are lots of ‘influencers’ out there who are only skin deep – and yet they are nowadays pop stars. We wonder how out society could come so far that holding up a product on camera is a seen as an envious dream job. 

We see a lot of stupidity on social media: the ultimate democracy of free opinions led us to a world where we are empty shells who compete in beauty and wealth, and can say anything without feeling consequences. Yet we share in tribes of the likeminded and think we are ‘right’ by having ‘followers’, and throll others.

We try to make the ultimate Instagram cliché’s, sublime objectifications of ‘types’ of women, and then give them a story of their own. As a result we reverse the mass-social tendency to objectify women.

But, in our work, humor always plays a role. We love to vent out the stupidity or navité of certain characters. We enjoy the stupid reactions, mostly of men ready to give up everything for an image and people who think they can talk on behalf of ‘all women’ when they publicly try to point out flaws in our morals.

Here she is summoning the devil and having contact with a deceased lover.

Luna Lovewitch is a goth girl from Romania. She came to Amsterdam to study psychology and has an unhealthy interest in the occult. She is very lonely but she gets involved  with a dominatrix and falls in love with her imaginary friend. Or is this a real ghost?

Luna Lovewitch is a character from ‘The Identity Machinery’ – a project that at this moment is mostly a soap on Instagram. It is a collaboration with my partner Laura A Dima, who plays the characters. I do the photography and together we doe the styling, making up the stories and everything.

The Identity Machinery started because of out interest in fetishism and psychology, or perhaps mostly in group behaviour. We noticed that fetishes and women’s attire often are derivates from a functional starting position. Nun’s or Nurse’s clothes indicated a function and a way of life – but type those terms in a search engine and you will see something else compared to how it used to look. Also, the derivates are quite different than the originals: if you look at it with an artistic eye, the ‘French Maid’ costume you’ll see now when you search is a sublime abstraction of the original: you’ll get only what you need to recognise it as such and it shows how conceptual the human mind is. Besides that the costumes are of course very sexualised and minimised and to us it seemed we missed a bit of a chance here. 

We have a preference of the very beginning of the sexualisation of uniforms and the like. In ’40’s, ’50’s and ’60’s films for instance, you will see pretty people in pretty uniforms, not objectified yet, usually having a real character but somehow very attractive.  We take this confusing and somewhat voyeuristic look at attire as a starting position to do statements about the objectification of the self on Instagram: there are lots of ‘influencers’ out there who are only skin deep – and yet they are nowadays pop stars. We wonder how out society could come so far that holding up a product on camera is a seen as an envious dream job. 

We see a lot of stupidity on social media: the ultimate democracy of free opinions led us to a world where we are empty shells who compete in beauty and wealth, and can say anything without feeling consequences. Yet we share in tribes of the likeminded and think we are ‘right’ by having ‘followers’, and throll others.

We try to make the ultimate Instagram cliché’s, sublime objectifications of ‘types’ of women, and then give them a story of their own. As a result we reverse the mass-social tendency to objectify women.

But, in our work, humor always plays a role. We love to vent out the stupidity or navité of certain characters. We enjoy the stupid reactions, mostly of men ready to give up everything for an image and people who think they can talk on behalf of ‘all women’ when they publicly try to point out flaws in our morals.

 

Here’s Luna entertaining herself at home.

Luna Lovewitch is a goth girl from Romania. She came to Amsterdam to study psychology and has an unhealthy interest in the occult. She is very lonely but she gets involved  with a dominatrix and falls in love with her imaginary friend. Or is this a real ghost?

Luna Lovewitch is a character from ‘The Identity Machinery’ – a project that at this moment is mostly a soap on Instagram. It is a collaboration with my partner Laura A Dima, who plays the characters. I do the photography and together we doe the styling, making up the stories and everything.

The Identity Machinery started because of out interest in fetishism and psychology, or perhaps mostly in group behaviour. We noticed that fetishes and women’s attire often are derivates from a functional starting position. Nun’s or Nurse’s clothes indicated a function and a way of life – but type those terms in a search engine and you will see something else compared to how it used to look. Also, the derivates are quite different than the originals: if you look at it with an artistic eye, the ‘French Maid’ costume you’ll see now when you search is a sublime abstraction of the original: you’ll get only what you need to recognise it as such and it shows how conceptual the human mind is. Besides that the costumes are of course very sexualised and minimised and to us it seemed we missed a bit of a chance here. 

We have a preference of the very beginning of the sexualisation of uniforms and the like. In ’40’s, ’50’s and ’60’s films for instance, you will see pretty people in pretty uniforms, not objectified yet, usually having a real character but somehow very attractive.  We take this confusing and somewhat voyeuristic look at attire as a starting position to do statements about the objectification of the self on Instagram: there are lots of ‘influencers’ out there who are only skin deep – and yet they are nowadays pop stars. We wonder how out society could come so far that holding up a product on camera is a seen as an envious dream job. 

We see a lot of stupidity on social media: the ultimate democracy of free opinions led us to a world where we are empty shells who compete in beauty and wealth, and can say anything without feeling consequences. Yet we share in tribes of the likeminded and think we are ‘right’ by having ‘followers’, and throll others.

We try to make the ultimate Instagram cliché’s, sublime objectifications of ‘types’ of women, and then give them a story of their own. As a result we reverse the mass-social tendency to objectify women.

But, in our work, humor always plays a role. We love to vent out the stupidity or navité of certain characters. We enjoy the stupid reactions, mostly of men ready to give up everything for an image and people who think they can talk on behalf of ‘all women’ when they publicly try to point out flaws in our morals.

 

As we are working with cliché’s (used as a medium itself): here she is posing at the graveyard.