Wave Collective: How would you best describe your practice?
Alice Cooke: My practice uses photographs, moving image and text, studying the role of the female in today’s society, challenging expectations about gender specific behaviour and questioning where this leaves my personal sense of belonging. This, combined with a more general consideration of our relationship to the human body, results in narratives that touch broadly on the nature of physicality and more specifically on personal sentiment. A continuous and thorough research process is an important element that underpins my work; my ideas and criticisms informed largely through literature. My work subtly integrates personal experience along with a study of larger, more complex issues: an expressions and study of myself in relation to a broader cultural condition. The notion of belonging is deeply rooted in my work, analysing the significance of a lack of belonging within one’s body juxtaposed with a strong sense of belonging to a landscape. Landscape and body regularly become one in my work, a merging of bodies, an interest in the origins of human existence and a criticism of the immanence of the female body.
WC: Tell us about your piece ‘Is it That I Cannot See Myself?’
AC: ’Is it That I Cannot See Myself?’ arose from extreme tension between mind and body: an issue that I feel is specific to my female condition but equally far more widespread than my own experiences as a woman. The title came from an extract of Iris Marion Young’s ‘On Female Body Experience’2009): ‘Is it that I cannot see myself without seeing myself being seen?’ an extreme paranoia of how we are viewed from the outside, unable to see ourselves objectively and separately from others. The paranoia of how we are perceived creates large issues between our mind and body; as a result we are unable to disassociate ourselves from societal expectations and thus leaves our mind feeling further burdened by our body. My work also addresses this burden in a very personal way, influenced by my own experiences as a woman and the real and vivid ways in which this has affected my life. Not only is the burden of the body present because of my place in society as a woman, but also by feeling at times failed by my human condition generally, when the mind doesn’t work perfectly and the body doesn’t function as it should. The Cornish landscape and my sense of belonging to it is also a vital element in my work; a question of where we belong arising from the tension between oneself and the body, oneself and society.
WC: What was your thought / work process when making the work?
AC: This project was the development of some work I made about 6 months earlier. The former work was triggered by a particularly difficult time I was having, when I was struggling with some mental health issues and some significant changes in my life. I was going through an emotionally testing few months that led me to start creating work that was confessional and turned into a kind of practice of self reflection. I began making the work intuitively and without intent for what it ultimately became. It started to become what I had unconsciously wanted it to be, developing into a moving image piece that was far more complex both visually and conceptually than the first photographs.
WC: How does the lens, whether in still or moving image making, affect how you see or see yourself? What kind of filter is it? Being negative or positive, does it impose or rather focus your gaze past itself?
AC: The relationship itself between the lens and myself is rather unspecific. I see it neither as a hindrance nor does it work to my favour- it is just there. In this way, it is emblematic of audience; the only way it impacts me is that I perform for it and its presence makes me persistently aware that I am being watched. Similarly, the audience isn’t that important for me. It is as if the character will be perpetually there, within the screen, always preforming regardless of surveillance. The lens does not do anything except provide distance between audience and subject, a physical boundary: a distancing between the subject and audience, further alienating the woman who performs.
WC: Something that stands out in your piece is a sense of lack of belonging to one’s body. How do you think society contributes to this concept of alienation from ones own self?
AC: It’s a controversial subject as Feminist issues have come a long way; women certainly have far more control over their lives now than they have historically. However, I feel that there is still a shared feeling amongst many females in our society (and I’m sure globally) that firstly, we must behave and portray ourselves inline with patriarchal/ societal expectations and secondly, we still are subjected to many instances that make us feel as if ownership over our body has been taken.
Speaking from my personal experiences, the way the society grants men ownership over women’s bodies (particularly young women) contributes massively to a feeling of alienation from oneself. The demonstration of ownership over another’s body happens so frequently that most people would not even consider it a problem, as it is internalised as normal behaviour. When we experience unwanted touching, comments, stares, as small and insignificant as they may seem, it contributes hugely to tension between our mind and body. When I mention the lack of agency and belonging to oneself, I also consider that the body’s functioning can only be controlled to a certain degree.
WC: What significance does gesture, pose and movement have within the piece?
The piece is entirely defined by gesture and movement; this is why I chose to create a moving image piece for this particular project instead of still images. The project progressed from constant attention to the way I moved my body, and specific actions continually made, which were a quest to find the perfect articulation; a way to express oneself and make sense of a body that feels alien. Sequences of gestural oddity were bred from this and became a vital motif in my work, representing the peculiarity of intentionally repeated movements, arrangements that seemed far from natural.
AC: Tell us what are you working on right now / next?
In January I’m exhibiting with ArtRooms fair in Melia White House, where I will be showing this project, so I have been preparing my work to be exhibited. I plan to continue working on a project very similar to this one and further the work I have already done, hoping to exhibit it more in the future. I have also been shooting with Sabat magazine for a book they are publishing in the spring.
Forever changing map
Coming and going white pressure, creates unnoticeable damage on the transparent surface. Combined with layer upon layer, developed over time it forms a forever changing map. The distorted shield obscures the submerged. Desperation, pain, anxiety and insecurity is pushed down and blend together is the deep darkness. Suppressed until the tension becomes overwhelming, and creates agitated hot streams. Boiling up, melting parts of the underside. Concurrently the outside pressure drills itself down and through, leaving a black gaping hole.
The pressure merges with the boiling flow, silencing it. Slowly allowing the shield to become it's complete self again.
Tramontana, the cold northern wind in the Mediterranean,
(From Latin, ‘beyond the mountains’.)
has the power to transform islands such as Minorca into undesirable places.
When the last tourist leaves at the end of August, and English is not the language anymore, and the pools close, and the smell of sunscreen fades away, the Tramontana kicks in.
At first, the aim was to find grey skies, sad faces, misery and SOS signs which would portray the loneliness and devastation an island forgotten nine months a year is bound to have.
However, there was nothing like this to be found in Minorca.
The islanders were happy to be there, life did not come to a halt after the summer.
This wind, la Tramontana, which may come across as the enemy, transforming the island into a hostile place, actually protects it.
It acts as a shield, enabling the locals to have their months of serenity and solitude, a feeling which society tends to dismiss.
And so parting from a false thesis I understood what I was really looking at:
Tramontana is an exploration of sought loneliness.
“...In the earliest extended description of the ‘Asphodel Meadows‘ in Books 11 and 24 of the Odyssey we find three passages describing the dark, gloomy, and mirthless place of Hades. This is not the Elysian Plain as it has been envisioned by post-Renaissance English poets, this is Homer’s dark, dank, and sunless underworld where disembodied and senseless spirits of the dead ‘weep and wail pathetically and flit about purposelessly like shadows or dreams’.
These three images, selected from a larger series, open a number of interesting avenues for interpretation and ones in which the Homeric metaphor of the asphodel plays a significant role; namely that which signifies a connection between life and afterlife. In these images the pallid and spiked petals of the asphodel flowers are made to feel translucent and weightless. The photographic method employed to make them lends the image a unique smoke-like quality and thus returns one to the ash-filled meadows of Homer’s descriptions. If we do choose to understand these images as those of an afterlife then it is one which is imagined as both dreamlike and terrifying.” - Robert Lewis Review, 2017
Missing May, 2017 explores my recent experience with the sudden grief of losing a close friend to suicide in 2016. Lost in attempting to comprehend her sudden disappearance and the trauma it had caused, it felt right to explore the aftermath/process that had weighed upon me through the photographic medium. It began with the fear of seeing her after her death; the method arose from this and I began to document every moment that I believed I saw her until it stopped happening. This resulted in a series of candid photographs of women from behind their heads, unaware and unrecognisable – her ghosts, along with words I wished to tell her.
NOSTALGIA OF TOUCH
My work is concerned with the relation between machinery and craft.
Photography has both: machinery: camera, enlarger, process machine,
and craft: handmade of the photographer.
Analogue photography as a sequence of repetitions, where
both, machine and human, repeat same gestures again and again.
Also the craft is related to the sense of touch which is amplified
by working in the darkroom. I always need to touch my images. Texture
is important and I started to use liquid emulsion to apply on different
Also liquid emulsion is an unexpected process where the outcome is a bit
out of control, opposite to the idea of the representation of reality that
photography has always been trying to achieve.
TOUCH, CHANCE, CRAFT, NOSTALGIA.
Nostalgia is the main idea that surrounds and links these ideas of
touch, machinery and craft, the unexpected or uncontrolled, and
getting lost in spaces in between where nothing is sure.
Svetlana Boym says “nostalgia is a longing of a home that no longer
exists or most likely, has never existed”
What about if nostalgia is not related to a home or to a nation or to a house?
What about if nostalgia is this space in-between where we feel lost
and need to come back or go forward?
What about nostalgia is more related to the body, to the skin, to the
touch that we missed at some point in life?
This series reveals period photographs pierced with needles, covered with pearls, peppercorns, feathers, corals or seashells. A storytelling emerges from those “hand-made” manipulations of images. The masked portraits present several types of ghosts, as if a malediction stroke the family with different punishments.
What to read into all these signs, what omen do they carry?
Starting from the concept of Phaneron, coined by philosopher and semiologist Charles S. Peirce, that indicates the totality of what exists in our mind, filtered by sensory perception, my research aims at emphasizing the many differences that can be found in the analysis of the subjective perception of reality.
The focal point of this research is to create a symbolic view of the cognitive impossibility of the existence of an absolute objective reality; Through this process create a bridge to get a direct communication of the sensible subjective reality between the artist and the spectator. As I have already had the opportunity to experience, the best way to analyze and express these concepts is for me to work closely with the environment in which the installations will be exhibited. This method of work allows me to realize works that are complementary to the structure that hosts them, thus creating a more intense relationship between works and viewers. My work goes simultaneously with the experimentation of different materials, making the installations versatile to different situations, both in terms of their structure and the possibility of visual integration into the surrounding environment.
My research method is structured on three simultaneous steps; studying the matter I'm analyzing, finding new materials and techniques that will allow me to express a specific idea in the best way possible, and at the same time confront myself with a variety of different people of the community I'm working in, to get an effective communication between the idea that my works are going to express and the viewers that will interact with them.
The Ontology of Theft
The Ontology of Theft is a filmic essay in which it is visually analysed the role imagination has in my life. Everything in it has something to do with memory and imagination, intended as opposed entities to creativity and chance. The act of stealing embedded in the name represents the artistic practice or better its appropriation of those hectic moments hinting at the transcendental that only creativity can provide. The language of the glitch expanding within the video reflects the notion of creativity as something happening to us. The short film has been informed and inspired by the philosophies of Henri Bergson and Gilles Deleuze, whose relations with video artworks are well explained by Homay King in her book Virtual Memory (my interview of her can be found here).
The video essay aims at the creation of what Deleuze called a lectosign — an image which needs not only to be seen but also read and thought about so for a wider understanding to take place; it is intended as a journey that can be done as differently as the many spectators who undertake it. Within the video essay, there are so many symbolisms and hidden relations that no one can understand, except for me. For instance, what I see in Giorgione’s painting La Vecchia (“The old woman”), showing at both the start and end of the short film, is a wish to live our lives as the old lady did; she is portrayed at the end of her life, very fatigued, and yet feeling fulfilled by the intensity and way with the which she lived it. However, there is room for many other connections to be found I am not even able to predict of, and I believe such flexibility to be the best characteristic of a lectosign. In this regard, it is very relevant to my practice the reference to the Italian painter Giorgione done in the video. His symbolic and mysterious form of art originated out of the private dialogues between the painter and his commissioners. He was the first Renaissance artist whose commissions were not public, making of his works of art cryptic, unresolved puzzles very similarly to conceptual arts, with audience and critics able to only speculate on their meanings. The Ontology of Theft is not only a reference to Giorgione’s works but also an homage to my Italian literature teacher, whose voice has been stolen, to one of her favourite Italian poets — Eugenio Montale — and to whoever you want it to be.
A l’oeil nu
"A l’oeil nu" (Naked Eye) plunge us into a visual exploration of a sound universe haunted by rhythms and tones, roaming through strange imaginary worlds.
With a view to « flm sound » and convert sound into pictures, I aimed to connect my musical mind with a visual aesthetics to create a kaleidoscope of sensations manifesting in psychedelic fashes and reconstructed shots.
For this video,I favored an intuitive method editing through association of ideas or printing overlays similar to automatic writing.
My approach to moving pictures matched with a beat where visual emotions appeared and vanished in a kind of cinematic expressiveness devoid of real actors. Hence the “actors” were shapes, lines and overlaid pictures came to life accompanied by the music. Suggestive, almost hypnotic, "A l’oeil nu" (Naked eye) confronts our vision to the opacity of fantasy.
'Manifold' is a term used in geometry as a generalisation on the concept of surface, no matter the number of dimensions it has. The video that receives this title is composed entirely of a single contact sheet depicting an industrial landscape, bought in a flea market in New York City. By selecting and sequencing each one of these frames, the video organizes a fictional narrative centred in a female figure which is recurring in these photographs. She embodies the text shown as subtitle to the images, describing the space as an incongruous and self-destructive superposition of different times.
This video embodies (and plays with) some elements from Franz Kafka's The Metamorphosis. Like in a theatre mirror, the two characters seem to fall victim to some off-stage creature (an insect? a spider? a ghost?), while they are actually victim to one another, sharing the same disturbing personality and obsessions.
Time In Four Movements
The poem this video is based upon first appeared in 2014 in Sand, an English literary journal based in Berlin. The lines are arranged in 23 short stanzas, laid out in four columns, as in some sort of composition for four instruments. In one of the main stanzas, it is stated “death has one voice/ it owns things twice”. This subtle trick of death is here developed throughout the allegorical quest of a freed spirit, from the Ligurian Apennines to a jewish wood in Berlin.
A Mushroom Trip
Film against drugs.
Two young people (a boy and a girl) are looking for the meaning of life by using drugs, but they`l find it in love for each other.
The Three Spirits
Throughout his life, man has three basic feelings: fear, pride and passion. Having overcome one of these, we continue fighting against the others, thus heading for life in circle ...
A LOOP IS A LOOP IS A LOOP IS A LOOP IS
A connection, an irreducible space of repetition. Two women get lost within this immortality. Somethings are bound to be forgotten in intrusions and its overuse.
STRANGER chops up COWBOY in the woods. STRANGERS COWBOYS is a collection of COWBOY's components. Set together they formed into the shape of an operatic visual album. STRANGER doesn't understand why. STRANGER isn't "like" this.
STRANGERS COWBOYS, is act II, III and IV of a morality opera. The opera is a package containing a book, a pack of unfulfilling cigarettes and an unusable lighter. It can only be ordered by calling HOTLINE FOR THE LOST at +1 (866) 235-0682.
Memories still exist in the practice of a fading repetition
Our mind is able to isolate moments of our life which are considered worthwhile to be saved from the flowing of time. The mental repetition of such memories is therefore useful to keep them alive and to bring back the same emotions and sensations felt in a particular moment of our life. Nevertheless, as time goes by, the outlines fade away, the sounds weaken, the surroundings become faint and uncertain. Yet, this slow process of degradation can be partly replaced by music as a last opportunity to keep that particulary memory alive by now only made of vague shadows.
Behind This Page
‘’Behind this page but not disappearing ”
A life articulated in the void, deprived of every stimulus and devoid of any meaning, must correspond to a “frozen” time, without a flow. A time that knows no past or present, static, unmoving, a bad eternity…Narrative-shots in ruins-skin-the soul of things)
Every time there is an intense emotion it’s like a smoke/mist covering everything around. Some other times, it’s as if it’s embracing everything and others as if it’s encaging everything. Fear, love, hatred, all create smoke(mist) of varying density,width and colour. Everything disperses like smoke, except when they merge into a wall (the dream of the guy(man?) by the door produces some smoke, as if reaching a conclusion).
If you’re wandering aimlessly on a beach, for example, as I’m doing now, there’ no specific colour of smoke. If, however, you’re travelling for a specific reason it’s different. It’s like those moments when you get back home after an exhausting day’s work and you project a shape around you which leaves you and heads towards your destination.
“I stood there , staring into the horizon, trying to distinguish or imagine shapes and forms reflected in the clouds and the clear water. Trying to see waves, smoke and energy fields… The messages we ourselves emit.
Every cell in a body and every molecule and atom in that cell is in a state of incessant vibration, making up a greater amount of energy which is able to transform the electric properties of the space they occupy. The message of change travels to other places at the speed of light. Given that our organisms are different, each of us echoes-reverberates in a frequency that is a personal trait, as unique as our fingerprints. We are like radars. Sensors, sensitive to messages from similar distant organisms.
(Close ups of ruins-skin-soul of things-digging into matter)
all paths are well-trodden, full of people and murmurs. But there is one that differs, a path with a soul. A path that, without hesitation, begins the rhythm of its own life. Anyway to know something well one must really touch it. Not meaning to be crude-to my mind only inaction(inertia) is crude. I focus on my bare feet, on this piece of soft earth. There could be many routes leading to the same place, though none of them would be as suitable as this one. I let it affectionately carry my bare feet. Paths like this one appear in nature of their own volition. They are the result of the spiritual relationship that connects the earth and its people, those who can sense the rhythm of its breath. Such a path, embellishes the landscape rather than violate and disfigure it.
A common thread that runs through identical or disparate elements and ends up being a state of things retired unto itself which cannot be seen through one’s eyes but can rather be felt. The lights pulsing timorously in the firmament are perhaps a rhythm of recoiling into themselves. Perhaps if we are at harmony with them we will find the meaning…the way…The earth is living, tossing in her sleep, dreaming, stirring, breathing, panting. Her humours course through her body. Her waters convey information. We grow, we mature with her, or so we believe.
(Stretching)Spreading her senses towards the universe, observing and waiting for the echo of the melody which will signal a new super-sensuous dance. (dancer on sand)
Ready to respond. We are born in a fluid state. Everything born on earth was born in water. We have all experienced life in the liquid element at least once. ——————–Nine months for most -seven and a half for me- in the womb’s liquids, a respiratory cord connected to our belly. There we heard everything. The maternal heartbeat, the creaking bones all around us, a frothing beer and any other sound from our immediate environment…trying to retain our primeval functions …apart from our
bodily mass, each of us carries over 10 tons of air. The only reason we are not crushed is that the blood and the other bodily fluids which are compressed counterbalance the atmospheric pressure…it’s a sensitive balance,…a sensitive chaos. So I sing of the day and the sea and the time and the planets. And thus I am entangled with all I wish for and am at one with everything in this guileless toing and froing, for in our future lie roving bolts of lightning and violent flour storms…..
In my dreams it's always night, a silent night with few words spoken by its characters. Some I remember, others vanish in the morning just to come back as a glimpse the following night when I close my eyes. Sometimes it feels like a TV show, with a continuity that I cannot catch.
Some of them keep hunting me on day time, for days, sometimes years. These Dreams are the Shines of a memory lost over time, gone for good, or maybe not really.
Who it is who comes
In english grammar, there is a form called the passive voice, where an action is described without mentioning the agent, the ball was thrown, the meal was cooked. I like the space where the agent should be. The work is about agency. The photographs were taken in the disused Cal Garbrat fabric factory in Vilasar de Dalt near Barcelona. The factories had been built in the late 19C, they had their heyday in the early 20C and went into decline between the first and second world wars. The last things to be made there were silk screen printed t-shirts for pissed up british people on the near by island of Mallorca. That company had collapsed rapidly to the point it looked more like they had had to escape rather than just quit and leave. They left screens, cloth for t-shirts and ink barrels as well as piles of accounts and other paperwork. I rather liked the mysterious and slightly creepy feeling that remained so I built sculptures with this jetsam I found in the building and then photographed the process of destroying these items. Using the pinhole meant that my interventions were hidden but had an increasingly destructive effect including on the image.
My work is inspired by English traditional ‘popular arts’ – accessible visual languages that are remnants of a world that is disappearing and becoming engulfed by globalisation, at the same time as being resistant to this through their very nature and origin.
Recent work has been motivated by cynicism in neoliberal politics and the concealment of this through use of the façade. My research has focused on Thatcherism in Britain, epitomised by the ‘Right to Buy’ legislation that enabled council property tenants to purchase their home from the local authority. This helped to forge a link between dignity and ownership, one that has been intensifying ever since.
We see the effects that such an ethos is having, beneath a façade of social concern and ideas of freedom, we are being separated from each other and entrapped through lack of education and cycles of work and leisure.
My series of paintings with text and borders are inspired by the scale, imagery and format of vernacular English art, in particular the pub sign and worker's union banners. Each one contains an ominous message and humorously reveals a disheartening truth that was hiding behind the façade.
My practice was born from the need of finding a way to face and explore topics such as memory, time and the relation between human beings and the space around them. In the last few years, it has been a reflection in continuous development starting from the intersection between memory, space and time.
These invisible measures influence our lives in a strong way. Time and space are the two main coordinates of memory: something happened in a given time and in a given space. But actually memory has the capacity to undermine these two cardinal points: often we think that we have a perfect remembrance of the shape of an object in a given place or of the face of a loved one, when on the contrary we keep only a general ‘sensation’ of the object, the place or the person.
From there, my practice has then been focused on two different but complementary concepts linked to memory: the fragment and the mould. Our memory is composed of fragments that we try to put together again every time we try to remember something. But the result will never be perfectly adherent to what really happened. Even if the fragments of our memories will have perfect adherence between them, they will always remain fragments of something that at some points was a whole. On the other hand, our memory will always be a mould of what actually was there before: we will be able to replicate those things, but there will always be something slightly different from the original.
In my practice, I am deeply interested in understanding and studying these discrepancies between reality and our memory.
Recently, taking from my previous research, I have been interested in studying the concept of the archive in the contemporaneity. In particular, how it is related to the concept of stratification of time and with our mental archive of memories, referring in particular to Bachelard’s The poetic of space.
No time, no place, no body
‘No time, no place, no body’ is an attempt to reconstitute the figure in space by stripping away contextual information through a process of colossal enlargement of the negative. Consequently, the primitive human photographic forms remaining are left in an ether giving the images an ‘other world’ quality. This abstraction is so complete that reality is nullified, and all that remains is the question: Is it true? In this world existing relations are modulated and new ones are created. The series is an ontological challenge to the truth of the image. The use of traditional analogue photography is particularly apt for this. Some of us have held a faith in it’s verisimilitude, yet it increasingly becomes historical; it’s patina invokes memory and a representation of times past. The media disappears into history as the 'truth' of memory itself is steadily abstracted into oblivion or mythology.
The concept of Rorschach draws inspiration from a test used in psychology, Patients are exposed to a series of cards containing inkblots and asked to respond to all of them.
The Project represents a selection of these cards transposed in a daily life context.
The visitor is invited to 'read' the pictures and share their impression on what they 'see' this process will lead the guest to show a hidden side of his personality.
‘Whirlwind’ is a photo series exploring the cyclical nature of abusive relationships.
With 2 women a week being killed by former or ex partners in the UK alone, and 1 in 3 women developing serious mental health issues when leaving a perpetrator, I feel domestic abuse needs to be more often addressed and articulated in varying and emotive ways.
As I await my perpetrators release from prison later this year, I am making work that confronts an ongoing epidemic of abuse within society, passed on unknowingly through generations. I am attempting to rework typical ways of talking about domestic abuse, representing more complex definitions for abused women than just ‘victim’ or ‘survivor.’
Calling upon traditional portrayals of female psychosis in horror films mixed with a hyper-feminine colour palette, there is an ambiguity in genre, situated somewhere between romance and horror, the work questions the differences between past and present, mother and daughter, truth and lies.
Love Will Make Us
A number of couples get questioned on their relationship with each other, exploring there commitment, strength and most importantly love. Depicting newly formed couples alongside couples lasting for over 50 years now.
Feigning Intimacy explores the infinitely inexpressible dynamics of love. Love is taboo, it is nonsensical, it evades all rationalities and often it’s expression is a mediocre one: a realm of cliches and overzealous mad monologues of endless repetition or high harmonies absurd and completely ridiculous and perhaps that is how it should be. Because there is no authenticity in love, it flutters about in the periphery of our intellects - constantly rolled across our minds bulbous and evasive and never lying flat in our desires to decode its depths. When it is felt it is essence of truth - nothing can be so certain as the intensity of our love and yet when it is over in the pain of it’s loss it is the absence of all truth: infinitely negating itself forever.
Hot and Cold
Hot and Cole is about personal perception of love and lust (or is it lust and love?), or maybe lust for love, or the love of lust? Every individual values the passage of time and its occurrences differently; we confuse them so often, it creates perplexity in our environment.
My interest lies in the elusiveness of human encounters. These beautiful, fragile moments initiate havoc during the time they are felt. The fragments of our reality, dreams and fantasies are pushed away and forgotten, or glorified, depending on our particular choices. My snapshots become instant proof and reminders of something that happened and was felt at the very moment.
Is the transience of lust and love the only thing they have in common?
Is love only our fantasy?
Hot and Cold is my work in progress.
Start on Technoselva
Uncertain Veracities explores ideas that surround sexuality, friendship and intimacy as well as the delusion of it. The series portrays a poetic, playful and melancholy world where time is lost and we are perpetually alone in our existences together. The photographs represent the sense of autonomy we all hold within ourselves, even when we are side by side.
-Eyes, eyes eyes. His eyes, her eyes. The back of the head. Green and black mix together. They repulse one another but stick together through the skin, the touch that they share through a body and a soul that is mine but isn’t at the same time. We all share this sin, this triangle, this complex mess of affections and connections. Sometimes sex is irrelevant. Sometimes connection sparkles and later it fades as we become more and more distant from one another disappearing into ourselves. Irrelevant. Simple beginnings stretch over time to make a mess, revealing the complexities of their minds. Beautiful, complex, tangled, never simple.