“In recent years, the end of love has been announced many times. Love, as the claim goes, is foundering because of endless freedom of choice, the overabundance of options, and the compulsion for perfection. In a world of unlimited possibilities, love itself represents and impossibility, […] The crisis of love does not derive from too many others so much as from the erosion of the Other. This erosion is occurring in all spheres of life; its corollary is the mounting narcissification of the Self. In fact, the vanishing of the Other is a dramatic process – even though, fatefully enough, it largely escapes notice.”
Byung-Chul Han, The Agony of Eros
In the folds of the skin, the pores, the strands of hair, fixed across the photographic print's monochrome plane, the intimacy of Otherness, familiar in its essential difference, unfolds through the experience of the viewer.
The portraits in this series – We Others – arose from an inner artistic necessity: I wished to attempt to make “humanist” photography, in the vein of Sartre’s existentialist humanism. As he put it, to discover one’s self, to become aware of the cogito, precedes a discovery of all others, as a condition of one’s own existence. We are all separate, other, but collected and unified by our otherness. This is the primary and most essential feature of our existence in relation to each other: “We Others”.
Drawing on Jean-Luc Nancy's statement (in the essay Nous Autres, the namesake of this project) that photograph is "a monster with two subjects, with a double body (human) and a single, cavernous head whose one eye blinks on and off" (Nancy, The Ground of the Image), I strive towards a conception of the portrait as a humanist act, unifying the maker and subject into one declaration of Otherness (from each other, together).
The work, however, is not intended to simply highlight this feature of existence. As Byung-Chul Han describes, contemporary society is afflicted by an illness, an erosion of the other; what he later called “the inferno of the same” (Han, The Agony of Eros). We live in an anti-humanist, anti-existentialist society: a flattening of individual experience into digital sameness. Image-culture is key to this erosion: think of the disposable faces of social media. We are conditioned to view faces, photographs, almost pornographically. The aim of this work is to provide a counterpoint to this erosion: to present a different experience of the photographed face than what we see every day. The subjects are perpetually present, static, and Other. In other words, they are individual, and through them, despite their larger than life scale, one could be reminded of that Sartrian condition of existence, that we are all together in our Otherness, that we can all experience the dizziness of our separate existences.