In this series my goal is to look intrinsically into the ideals of brotherhood, masculine bond and male expression. In these series of portraits we have several men staring deeply into the lens with a neutral expression. This purpose of expression is to allow the viewer to create their own emotion within the subjects. But also be able to find the hidden emotions within the bags of eyes telling the story of sleepless nights, the acne scars showing the stress and anxiety of the individual and the untrimmed stubble showing the lack of time in their day. All of these factors lead to the untold story of millions of men, the story that is never expressed on one's shoulder or through the chatter over a pint. The viewer should sit with each portrait individual, turning the image only to be confronted by another untold story. Yet when they do turn that image they aren't met with a blank silence, but rather the back of the subject. To show the intentionality behind one's own action of turning the back of the individual on themselves.

 

For the installation I wanted to deconstruct the way an image is viewed in the gallery. Where they are not spread across the space nor are they so small you miss the tiny freckle on the left cheek. But rather large and troublesome, with a rustic and rough turn as the di-bond glides against the rusted poles. The viewer should feel every ounce of effort they have to exert to move that image. For the impact of that movement, which is a burden upon the image from the action of the viewer. If the viewer chooses not to engage with the installation then allow them to sit at eye level and meet the neutral gaze of the single individual portrayed in the image. Allow them to sit with that subject as if they are in the same room, breathing the same air only to never ask the story of the unspoken.

 

Overall I want this piece to engage the viewer, change the way they view an image in the space and allow a struggle to flourish within their own viewing. Where they are not turning a page of a book, but rather turning the back of the photographed subject on themselves. Then for themselves to have to sit there and struggle with every ounce of effort they put into that decision. Yet that decision, besides for the effort and troubles it created, is allowed to be moved back and forth, here and there, ebb and flow through the piece. Where every interaction with the piece itself is unique and special for the viewer. So no one person is interacting with the piece the same way.