As much intersubjective agreement as possible. Pictures Without Words Volume 001, Issue 002 includes work by Saleem Ahmed, Chris Bentley, Elise Boularan, Leslie Burns, Amanda L. Driggers, Matt Evans, Gretchen Grace, Amanda Greene, Emil Handke, Julie Renee Jones, Tammy Mercure, Lindsay McCarty, Michaela O’Brien, John O’Connor, Miles Price, Matthew Shain, Kurt Simonson, Nabil Tazi, Matt Williams, Sara J. Winston, and Tara Wray.
“Changes and experiences that were incredibly difficult for me are, in hindsight, beautiful and full of meaning and rooted in that landscape and with those neighbors. I still mourn that place and question leaving—it has a piece of my heart and always will.”
If Wipe Your Nose Sugar Boy is situated within Southern Gothic themes, Albain wastes no time getting directly to one of its most central themes—religion. […] Vanity plates and discarded signs indicate that Wipe Your Nose Sugar Boy is set at least in part, in Tennessee. A dead bird, tattered things covered in tarps, and overgrown fauna that follow suggest that in Albain’s South, the gospel is less about prosperity and more about the realism of muted gray tones.
“In my work and in my life, I’m interested in how we can choose to live with the things unknown, how we proceed forward anyway even amidst the things that we can’t know yet, or may never know.”
Photographs are product of seeing—another circle with an ephemeral horizon. McCarty’s instant film images like Emerson’s Romantic perspective, are a collective approximation uncertain of our individual existence whose perspective changes and creates a duality of what was and what is—a doubling back on reason.
If a blast began all that transpires throughout the approximate 25 years that make up Half Life, then the photographs depict uncertain forced dispersing and settling of matter in its wake.
“How much does Eggleston’s photographs inform our memory… whenever I look upon a photograph, I do so with some nostalgia for beauty and truth that might not have been if it weren’t for the photograph. The photograph as an artistic medium demands it.”