Both works make use of the visual language of a traditional family portrait while portraying

non-traditional family units. This results in questioning the boundaries of the traditional family
unit, by suggesting the qualities associated with family (warmth, nurturing) while portraying
people who do not fit the mould associated with familial qualities.
The two portraits make use of formal devices to centre the focus on the photographic subjects.
The use of bright, saturated colours in both portraits bring a sense of warmth to the families
being photographed. In Opies photograph, the use of red tones in the background helps to
emphasize the red tones in her and her childs skin, emphasizing the bond of breastfeeding.
The subjects of both portraits take up most of the space within the frame, causing the viewer to
focus closely on their appearance and expressions. In both portraits, the physical closeness of
the people being photographed causes them to appear as a single unit, emphasizing the fact
that they are emotionally tied together. Iconographic devices further add to our assumption that
these photographs are family portraits. Opies portrait draws upon traditional paintings of the
Madonna and Child, while the rich, colourful backgrounds in both draw upon Hans Holbein and
other Renaissance portrait artists paintings.
Semiotic devices are used to aid the formal devices by suggesting themes of family and familial
closeness. At the same time, they introduce the artists message by connoting qualities about
the subjects that are not traditionally associated with family. In Opies portrait, the act of
breastfeeding signifies motherhood and nurturing, as does her loving gaze towards her son,
while the infant represents innocence and purity. However, her short hair and tattoos suggest
alternativity and being an outsider, qualities not associated with mother figures. This is further
emphasized by the scars that read Pervert on her chest. The linguistic message connotes
sexual deviancy, the opposite of motherhood, which is often conflated with ideals of purity and
sacredness like the Madonna. The scars signify pain and damage done to the body, the
opposite of motherhood which produces from the body, and are reminiscent of being branded,
i.e. judged by society. In Harris portrait, the formal clothing (ties and blazers) as well their stiff
expressions suggest a studio portrait, connoting family togetherness and the idea of
commemoration. However, their mismatched clothing connotes potential poverty, a type of
family which is not often shown in art but might be represented through these kinds of personal
photos. The two adults also mix signifiers of both genders. Harris hands and suit connote
maleness, while the lipstick, hairband, and baby connote femaleness. This is added to by his
pose, where he leans into the other person in the photo. Upon closer inspection, the viewer is
not sure of Harris gender, nor of the relation between the three individuals yet simply by the
framing and composition, as well as their body language, one immediately assumes that they
are a family.