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.
Other than poverty, what exactly the cigarettes (and alcohol and drugs) throughout Gravity Is Stronger Here help Dooney’s subject matter escape isn’t fully on display in the photographs alone. Not that poverty is not oppressive enough. Not that it doesn’t promote a feeling of ineptitude. The Browns appear to be stuck and at times seem to not know what to do with their situation any more than what to do in front of the camera. At times they feel very aware of the camera’s presence, mugging unnaturally through their drugs, God, boredom, and a whole lot of doing nothing. But in text and visual clues one learns that the Browns have internal and external struggles. They deal with difficult situations with great self-awareness and honesty. Accompanied by Libaire’s poems the sometimes overly dramatic feels sincere.
“The image is set within a predetermined frame, similar to the ones we are born into. The most we can do is recognize and stay aware of it, they will be wherever we go, including the most sequestered beaches.”
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.
“[T]o make a direct recording of the landscape would be to record everything the experience of standing there was not about, and nothing that it was about. I have no interest in a direct, “accurate” representation of nature. I am more interested in the truth of a photograph.”