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This photograph shows a haunting, fading reflection of the photographer looking through their camera in the window of their childhood home. In muted tones of a blue-tinged light, the figure of the photographer overlays a small tree sitting on the other side of the window. On the left side of the image is a wall with another window and on which hangs family photographs that have become blurred through the image's relatively narrow depth-of-field.


Darren Spirk

Analog photograph, 2022


This photograph, part of the series 'intersections,' engages with the notion of anti-portraiture to explore how the notion of intersection, particularly in relation to space and subjectivity, is key to challenging the fundamental relationship between cameras and photographed persons: what context, whether at the sociopolitical or interpersonal level, enters into the image to complicate viewers’ abilities to access these people, and how do notions of intimacy and distance critically co-mingle beyond commonly understood aesthetic patterns? How, particularly for queer people, do we embed or dis-embed ourselves in relation to built environments in ways that help contest how we see, and thereby think, about the human?