I observed in myself a period between when I was socializing with people and when I was on my own. I noticed the existence of a transition where I was acclimatizing to being on my own again. I was switching from being an extroverted, social person to being a singular unit again. That transition was either a slow gradual shift, a natural shift, or it was a conscious shift — I would consciously try to hang on to the emotion I had with people, or I would make the decision to switch into being on my own again. That transition is what this series is about: moments of reflection, remembrance and thinking.
The photos of the people are surrounded by a black matte with graphic design elements like dots, lines and squares drawn from 1950’s-60’s movie posters and title sequences. Specifically, I was inspired by the work of Maurice Binder for Dr. No, and Saul Bass’s work for The Man with the Golden Arm. That period and the style of those films are defined in history by a sense of disillusionment and existential dread, heightened by the nuclear threat and the Cold War. But the imagery we often associate with this period is this mythic sense of glamour and sophistication. It’s the image of Jimmy Stewart and Cary Grant in their perfect suits, involved in glamorous crimes and intense emotions, all set in high-class bars, clubs and trains. I’m using these lines, dots and squares to connect the viewer to that time period. My figures are not involved in an existential crisis, but they’re introspective and self-aware. Those are qualities lacking in the glamorous figures of the old classic movies.
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