La Loup-Garou (1932)
Film poster showing silhoutted side-profile of a woman with a wolf's snout on a red background. Inside the silhouette are stars, the moon and the Paris skyline.
Claire's dressing room, 1926
Claire applying makeup in a mirror at her cluttered dressing table. Half of her face is covered in white foundation.
Vanity Fair photoshoot, 2018 (4/4)
Claire reclined in a bath, covered with bubbles, a towel on her head, cucmber pieces covering her eyes. She is sporting a beard and hairy hands.
Vogue Septemper 1956 issue
Studio-lit photo of Claire holding a shoe close to her face as a fashion advert, wearing a black fur shrug and a fascinator, with red lipstick and nails.
Claire circa. 1925
Black and white photo of Claire posing, wearing a sequined dress, a feather boa, pearl necklaces and bracelets.
Wolfman's Wife (1942)
Film poster showing Claire's face underlit in black and white, partially covered by the title, surrounded by black. The Wolfman is grabbing a woman in the bottom right corner.
Freak Show poster, 1894
Aged poster in french advertising a freak show. Etching of a young Claire in the centre, surrounded by text and drawings of dogs on a blue background.
Vanity Fair photoshoot, 2018 (1/4)
Claire posing outside in front of a trellis and brick wall, a cloudy sky behind her. She wears a long white dress and is sporting a beard.
All things ghoulish and weird are welcome in my work, because I firmly believe that by putting on a monstrous costume or entertaining a freakish masquerade, we might just learn something about ourselves and each other.
Guillermo del Toro calls monsters “the patron saints of imperfection”; monsters are simply a mirror which we hold up to society in order to reflect both our deepest fears and desires, allowing us an outsider’s perspective of human lives and struggles. Monsters are the manifestation of difference and deviation from the Norm, becoming idols for those who feel like they don’t belong, though it’s typical for monsters to be misunderstood and villainised in humanity’s pursuit of positive self-image. Marcelle Moreau, also known as Claire Wolfe (everybody loves a pun) is my monster; some say she’s a werewolf, or a freak, some call her ugly, others call her beautiful, but ultimately, she is a symbol that represents intersectional difference. Through faux-archiving I reveal pieces of her story; unique yet universal, she is a multi-faceted example of how monstrous identity helps or hinders our existence. My work is multimedia, utilising my skills in casting, makeup and costume to construct characters, and then using a mixture of photography, video, and digital manipulation to curate my narrative. I learn any skills I need along the way in order to achieve my goal. I’m eager to develop these skills in a professional environment, and would love to work in SFX makeup or film production, where I could collaborate with others to create more ambitious projects.
Making A Mark Exhibition, The Manufacturing Technology Centre (MTC), Coventry (2019)