Eyemazing: The New Collectible Art Photography

Product Information

During his visit what stroked the artist most was not only the people he was able to meet or the partly demolished houses he could visit but rather the over-exaggerated numbers of signs of “PERMIS DE DÉMOLIR” that were placed on the houses and everywhere on the streets. Beneath his lens, the women are freed from the gaze by which they are usually seen—sexual objects to be used and discarded. His images dig deeper into who they are. When possible, he has heard their stories; he has given them the dignity that most people crave—to be heard. DH: It’s not so much about my desire to embrace the geriatric crowd but rather a newer project where I’m photographing my mother and her community down in Florida. My parents divorced in the 1970s and have since taken very different paths in their lives. My mother is a born-again Christian and it’s taken me many years to get my mind around that and begin to make pictures. It’s obviously quite difficult due to the fact that the very nature of who I am is counter to her spiritual belief system. We love one another…yet there’s so much that’s wrong. Much of this work is Florida is about what remains unspoken. Outwardly the work is playful and colourful. But in actuality it’s heavy and dark. They’re some of the hardest pictures to make. I feel very disconnected in those moments. Demolition Permit?The demolition of the houses? Demolition of the individuals? Demolition of their identities?

The figure represented in Ana/chrony is neither erotic nor social. It is surely not political, but it looks nice. The figure we see in Hammam’s set is an allegory—I've found out—a representation of the ultimate truth, in the Arabic world. Her name is Al Haquiqa. It is said that by removing the veil of Al Haquiqa, a person will know the ultimate truth.allowed it to be used in the media, preferring to have the projects disseminated as exhibitions, books, and on the Internet. Perhaps the fact of their choosing my SL: I did them for myself. Magazines at different points had different ideas of what I was. The New York Times gave me work as a children’s photographer. Everybody had a different idea. Well, Avedon did portraits. If something needed to be done, he did it! So there were areas of photography that I might have enjoyed working in, but I wasn't considered proper.

This body part has always been a source of intrigue for Roche. “I have brown eyes and so did everyone in my family; growing up in Paraguay, light eyes were kind of rare,” she shares. “So I always curious about it.” Striving for ego-less art is language not often heard in this century, where high profile, market-driven artists fight to see who can be the loudest amongst the shouters. This self-consciousness has been leading the viewer into an inbred funnel vision of narrower and narrower meaning; artist's obsessive attention to style and trend is now producing art about art about art. But ego-less photography is not the point here. It is simply to avoid this artistic pretension to which we are becoming so accustomed to, for it is in reciprocity to the degree of Truth in art.It has been an obsessive pursuit, one that has led me to experience the ever greater discomfort brought about by the forces that serve to cultivate creativity in conformation to the machinery of art. Years of creative experimentation have shown art to be a rare element with its origins outside of my own thought, an element to be found, to be recognized, an absolute only to be marveled at. The process that guides this effort to bring this purity through to the surface has been one of relinquishing control, an attempt to bypass one's preferences, a means to make known that which we do not already know. What issues forth is a cleansed art. It resists absorption into what we have come to know as the "art world," a superficial construct shaped by market consciousness in which we act as consumers/producers in service of its appetite out of control. I look for this new found clarity that it may serve as an aspirant in rekindling within others, the experience of art's infinite nature, one unfettered by these corrupting forces.