“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.
As much intersubjective agreement as possible.
“That was really the big prize in my mind. Making photographs and recouping some of your financial losses … meant that you were reaching a big audience and that was the point of being a photographer.”
“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.”
The photographs within aren’t in fact all that happy. But they are a shared loneliness. Each photograph is gate folded which means, unless you want your book to become a mess by leaving each gate fold open and therefore the viewing process to also be a mess, it is best to proceed as follows: read text and think, open gate fold, look at photograph, close gate fold, ruminate and move on to the next lonely one.