Between 2002 and 2012, at the age of twelve years, photographer Elle Perez (who uses gender-neutral pronouns “they” and “them”) shot more than twenty thousand photos, often of the punk concert in the Bronx, the area where they were born and raised. While final editing, the first solo show of Perez in new York, “in bloom” (at the Gallery 47 canal, and April 8), a cozy set of all nine images, captured moments during the years spent in a more private space. In one photograph, called “Wyley” Peres stands on the street alone, with his back to the wall, holding a red scarf that hides his face. The image evokes the handkerchief code, the system used by members of the community L. G. B. T. V. from wearing a colored handkerchief in the pockets to indicate sexual fetishes. Red shawl signals of interest in the practice of Fisting, the act which referred to a photo of Peres and “dick”, in which the arm lies between the shadow crotch, blood drying residue above the knuckle in the shape of a Tulip. Photos Perez these codes contain a strange desire, but as a person Wyley, their meaning is largely hidden to the outside observer.
“Ian,” 2017.
Perez lives in new York and teaches photography at the Harvard school of design Rhode island; they also serve as a Dean in several school of painting and sculpture, and to spend time in Puerto Rico visiting family, collaborating with other artists, and working with the grassroots public organization Pueblo. Perez, who identificeret myself as TRANS, I was told that they are interested in “the idea of work where you are,” to build a world where they bring their camera. “Strange love means love of the new structures,” writer Larissa Pham, who worked with Perez on the text to accompany “in bloom,” writes. A few photos were shot in the apartment of the partner of Perez, Ian, a sculptor based in Richmond, Virginia, one of the waterfall in Maine, they visited together during the summer. The last, called “the pond,” a drop of water suspended on the edge of melting, while the other falls and refracts sunlight at a temperature between the owner’s legs. On the edge of the frame “soft stone” barren tree branch in Central Park reflected in the water. As all the images show, the scene inspires thoughts while maintaining detachment. “Intimacy between lovers there are in the details—a bruise, a spot, eyelashes, and drops of water,” Pham writes. “These items in the form; this is how ordinary objects become halo and special.”
“Dick,” 2018.
“Stone Flower” In 2018.
Walking through the “bloom” one day, Perez asked me if I saw the pictures of the show “Peter Hujar: the speed of life” at the Morgan library and Museum. I replied that I had. Perez told me that Hujar print his famous image of “candy darling on her deathbed,” since 1973, he used the pre-digital retouching called “spotting” to make sure that darling face “was the highlight of the image.” Spotting is the process time-consuming and risky, as there is no reversing its effects on silver gelatin photograph. Perez told me that they admire the end of Hujar for his courage to risk his image in order to dignify his subject. Like Hujar, Perez submitted to the TRANS body in such a way that it resists consumption indecent. “In bloom” makes a public recognition of what is happening in private, making love confused in the practice of creating images.
“Wyley” 2017.
“Binder” 2015.
“The pond” in 2016.
“Soft Stone”, 2015.
Nikol 2018.
Sourse: newyorker.com
